INDY Week 4.25.18

RALEIGH 4|25|18

THE HOUSING EARTHQUAKE, P. 6

MONEY TROUBLE, P. 8

THE VHS VIDEO STORE RETURNS, P. 34

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WHAT WE LEARNED THIS WEEK RALEIGH

VOL. 35, NO. 17

DEPARTMENTS

6 Nearly half of the people the Raleigh-Wake Partnership to End and Prevent Homelessness serves have full-time jobs.

6 News 10 Wedding Guide

7 Three in five Durham families headed by a single mother are living below the poverty level.

22 Food 26 Music

8 What if there was a simple way to keep North Carolina school boards and county commissioners from fighting over money? (There is.)

32 Arts & Culture 38 What to Do This Week 41 Music Calendar 44 Arts & Culture Calendar

10 Got an itch to get hitched? The INDY’s Alternative Wedding Guide is here to help you through it.

22 There are roughly forty million acres of lawn in the U.S., according to a 2015 NASA study—three times more acreage than any other irrigated crop.

26 Over thirteen years and several records, Coma Cinema became an influential node in the American lo-fi indie rock revival.

34 Raleigh’s new Alamo Drafthouse theater achieves a degree of razzle-dazzle as a hub of cinematic geekery.

Staci Phebus, owner of Juniper Bay Metals on Glenwood Avenue, works on a wedding band in her studio (see page 18).

PHOTO BY CAITLIN PENNA

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The INDY’s monthly neighborhood guide to all things Triangle

Coming May 16:

Carrboro

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4 | 4.25.18 | INDYweek.com

backtalk

Hey, Cupcakes

On to what might be our most controWe released our endorsements last week, versial endorsement: Roger Echols over which naturally means we’ve been deluged Satana Deberry for Durham County Diswith comments about had bad/wrong/ trict Attorney. Ellen O’Grady says we corrupt we are, and we’ll get to those in screwed up: “I had the privilege of attending just a minute. First, let’s catch up on our the People’s Alliance meeting the evening cover story from two weeks ago, about they endorsed Satana. I got to hear comRedneck Revolt, the far-left outfit that likes munity members speak with much love to brandish assault rifles. and conviction on Satana’s behalf. She has Tricia Johnson thinks they’re on to somethe legal expertise. She has the experience thing: “Marx specifically stated that the of bringing people of various backgrounds people were to remain armed and resist to the conversation, to look directly at how any attempt by the government to dissystems are affecting lives. She has a wellarm them, that disarming the people is an researched plan and a commitment to that act of oppressors and the people cannot plan. I’ve heard Echols’s supporters admit remain free without the ability to resist on that Satana entering the race has gotten all levels. I do see the conservatives runhim to make more progressive moves. I ning scared. As always, they want to poohdon’t want a DA who needs to be pushed to pooh and minimize the armed leftists, as take a progressive stand.” if that makes it true, and then attempt to Skepticalbrotha says we’re ignoring our perpetuate the myth that leftists don’t have own reporting: “Satana Deberry is runarms. Many of us are former military or, ning in large part because of the INDY’s like me, law enforcement-trained. They’d investigative reporting rather live in their fanon the police shooting tasy cocoon. Good, let them. The element of “I don’t want a DA who of Frank Clark. Y’all laid bare the lies and surprise is as valuable needs to be pushed.” duplicity of the police, as being well-armed.” and Echols’s complicity “Do they really want with those lies. Frank to take on millions Clark was murdered, but let’s focus on plaof ex-military and ex-law enforcement?” giarism, ’cause that’s more important than responds George Martin. “Let’s get this police accountability.” party started, cupcakes. Signed, a retired J.P. McPickleshitter counters that career military combat vet of three wars.”

“Echols is a principled man.” “The speech Love where this conversation is headed. he gave about considering the context in All right, endorsements. Pat O’Brien says which the monument destruction occurred our support for U.S. Representative David was nuanced and brave, and happened well Price is “dead wrong”: “He’s just another before he was ‘pushed by his opponent.’ old white man, and Michelle Laws is an Durham For All’s portrayal of Echols as amazing woman who gets things done. I a pro-police lackey is shameful and dishave known her for a decade, and she has honest. And [Deberry’s] plagiarism and shown remarkable accomplishments on subsequent response were more than a the grassroots level. We need more like her. simple ‘mistake.’ It’s an issue of honesty, Price has had his chance to make a legacy.” and Deberry had ample opportunity to take Glenwoodbrooklynite rises to Price’s responsibility and be truthful after it came defense: “Being an old white man doesn’t to light. That didn’t happen. If Deberry’s disqualify a great representative like Price supporters were being honest, they’d admit from serving. He’s been a terrific congressthat they would never give that same benman for our district, and I look forward to efit of the doubt to Echols.” him really making progress on gun safety with the wind at his back this time. The Want to see your name in bold? Email us at INDY is right: he is indeed a good fit for backtalk@indyweek.com, comment on our District 4. We do need some new people in Facebook page or indyweek.com, or hit us up Washington, no doubt, but that is no reason on Twitter: @indyweek. to dump the good ones.”

INDYweek.com | 4.25.18 | 5

indynews

Four Years in the Trenches

AN EXIT INTERVIEW WITH SHANA OVERDORF, A CHAMPION FOR RALEIGH’S DISADVANTAGED

BY ERICA HELLERSTEIN

I

n October 2013, Shana Overdorf stepped into her role as the executive director of the Raleigh-Wake Partnership to End and Prevent Homelessness in the middle of a crisis. The Raleigh Police Department was in a standoff with volunteers who tried to feed homeless people in Moore Square Park on weekends, claiming they violated a years-old ordinance prohibiting food distribution without a permit.

Overdorf, on day one, walked right into a feud that had made national headlines. On day two, she was sitting in a community meeting with 150 animated stakeholders in the building across the street from the park, discussing long and short-term solutions for the problem.

Talk about hitting the ground running.

In the more than four years since Overdorf assumed leadership of the partnership, which works to end and prevent local homelessness through a range of projects and collaborations with other agencies, she has helped effect a sea change within the organization and has watched the distinct needs of the population she serves evolve.

Last Thursday, Overdorf said goodbye to the partnership. She’s not quite sure what’s next—she’s going to take a bit of a breather for now, she says—but she shared with the INDY some observations about her time in this field and the challenges that remain for Raleigh’s disadvantaged, including access to affordable housing and a living wage.

First, the positives. Overdorf says she’s proud to have overseen the establishment of the Oak City Outreach Center. a thirtytwo-hundred-square-foot food-distribution center across the street from Moore Square that will celebrate its fourth anniversary this summer and provides food, hygiene kits, and other services to residents who are struggling with homelessness or housing instability. Since the center opened in 2014, it has distributed more than 250,000 meals to community members and currently serves about three hundred people every weekend.

6 | 4.25.18 | INDYweek.com

“It’s one of those things that it’s hard to imagine life before the center, because of how much we are able to do in that physical space right now,” says Overdorf. “That, hands down, will be one of the biggest milestones of my life.”

Another project in the works, a multiservice center slated to open in February, will provide streamlined access to countywide homeless services: food, showers, housing resources, a computer lab, and medical care. The idea is to reduce the amount of time a person in the middle of a crisis might have to spend going from agency to agency, retelling his or her story multiple times, Overdorf explains.

“It’s just more of a one-stop shop to simplify, to make it easier for people who are in need to get what they need quickly, without having to take seven buses across four weeks, missing work, and finding childcare,” she says. “The beauty of this building is that you tell your story one time. And once you’ve told your story that one time, that person is then responsible for helping connect you to all the things that you need and helping to prioritize your priorities.”

But difficulties remain—including, most urgently, a need for affordable housing.

During her tenure at the partnership, Overdorf says one development in particular struck the community like a “mini-earthquake”: the redevelopment of affordable housing complexes like The Palms and Forest Hills in Raleigh into upscale apartments that displaced lowincome residents.

“That really has impacted the ability for us to house people who were next in line,” she says. “Because we’re trying to help people who are being displaced. There’s just not enough housing inventory to go around.”

The lack of affordable-housing options has brought to light a pretty shocking trend.

Overdorf estimates that about 45 percent of the people the partnership serves have fulltime jobs but don’t have a permanent place

Shana Overdorf FILE PHOTO BY ALEX BOERNER to stay. Instead, she says, there are full-time workers seeking refuge in emergency overnight shelters.

“They’re not supposed to be in [emergency] housing,” she says. “But we

don’t have housing for folks to move to, and we have people who are working who still can’t afford to live in that housing. And that’s just kind of the cycle we’re in right now.” ehellerstein@indyweek.com

news

YYYYYY VOTING GUIDE YYYYYY WAKE COUNTY

BOARD OF COMMISSIONERS: SIG HUTCHINSON (DISTRICT 1), MATT CALABRIA (DISTRICT 2), ERV PORTMAN (DISTRICT 4), JAMES WEST (DISTRICT 5), JOHN BURNS (DISTRICT 7)

Overburdened

A NEW REPORT SHOWS THAT WOMEN OF COLOR ARE HURT MOST BY DURHAM’S GENTRIFICATION

BY SARAH WILLETS

L

ow-income women of color are “particularly burdened” by gentrification in Durham, according to a new report by UNC-Chapel Hill students.

The public policy students are UNC Capstone Fellows who have been working with WomenNC as part of the NC Coalition for CEDAW, which refers to the UN Convention on the Elimination of all Forms of Discrimination Against Women.

The student researchers, who presented their report to the Durham City Council last week, found that rising rents in Durham were taking a particular toll on women of color, who are often single mothers and renters.

They connected their findings to institutionalized racism throughout Durham’s history—via programs such as redlining and urban renewal, which razed black neighborhoods to make way for N.C. 147— that have laid the foundation for an uneven economic landscape today.

“The damaging combination of societal gender-based discrimination and Durham County’s particular history of systemic racism have contributed to disproportionately negative impacts on low-income women of color seeking affordable housing,” the report says.

According to the research, nearly half of Durham County households rent, which means the 13 percent increase in median rents between 2010 and 2015 could have affected more than fifty thousand households. The researchers also found that about 20 percent of renting Durham households are headed by single mothers, and the vast majority of those single mothers are women of color. About 60 percent of Durham families headed by a single mother are living below the poverty level.

These women are at the “intersections of marginalization,” student Allory Bors told the council.

Because of wage and wealth disparities that disproportionately harm women of color, rent increases present a particular hardship for these single-parent renter households. According to the National Partnership for Women and Families, North Carolina women are paid eighty-six cents for every dollar a man makes; for black women, fifty-four cents; for Latinas, forty-eight cents.

Research has shown that women of color are at the highest risk for eviction. That’s in line with what Durham Human Relations Commission members observed when they sat in on eviction court for six days in December: more than half of the tenants who appeared in court those days were black women.

Diane Standaert, who chairs the HRC, asked the council Thursday to consider funding an Eviction Diversion Program started by Legal Aid, Duke’s Civil Justice Clinic, and the Durham County Department of Social Services to try to head off the approximately nine hundred eviction cases filed each month in Durham County. Since it began in August, the program has handled fifty-eight cases in court and avoided evictions in 79 percent of them. In 66 percent of cases, tenants were able to avoid moving out of their home.

The HRC is seeking city, county, and public funding to hire more lawyers for the program and provide emergency rental assistance to tenants facing eviction.

The students’ report makes four recommendations to improve affordable housing access for women of color: increase the stock of affordable housing in Durham; improve equitable access to housing via support services and tenant protection policies; bring people affected by gentrification into the decision-making process; and collect more data on the gendered effects of gentrification. swillets@indyweek.com

DURHAM COUNTY

DISTRICT ATTORNEY: ROGER ECHOLS SHERIFF: CLARENCE BIRKHEAD BOARD OF EDUCATION: MIKE LEE (DISTRICT 1), MATT SEARS (DISTRICT 3), NATALIE BEYER (DISTRICT 4)

ORANGE COUNTY

CLERK OF THE SUPERIOR COURT: MARK KLEINSCHMIDT BOARD OF COMMISSIONERS: SALLY GREENE (AT-LARGE), EARL MCKEE (DISTRICT 2) BOARD OF EDUCATION: SARAH SMYLIE, BRENDA STEPHENS, HILLARY MACKENZIE, WILL ATHERTON SHERIFF: CHARLES BLACKWOOD

U.S. HOUSE

DISTRICT 2, REPUBLICAN: NO ENDORSEMENT DISTRICT 2, DEMOCRAT: WENDY ELLA MAY DISTRICT 4, DEMOCRAT: DAVID PRICE

STATE SENATE

DISTRICT 16, DEMOCRAT: LUIS TOLEDO

STATE HOUSE

DISTRICT 11, REPUBLICAN: NO ENDORSEMENT DISTRICT 11, DEMOCRAT: ALLISON DAHLE DISTRICT 33, DEMOCRAT: ROSA GILL DISTRICT 35, REPUBLICAN: NO ENDORSEMENT DISTRICT 35, DEMOCRAT: TERENCE EVERITT

YYYY WHERE TO VOTE EARLY YYYY DURHAM COUNTY

ORANGE COUNTY

HERBERT C. YOUNG COMMUNITY CENTER 101 WILKINSON DRIVE, CARY APRIL 26–27, APRIL 30–MAY 4: NOON–7 P.M. APRIL 28: 10 A.M.–5 P.M. APRIL 29: 1 P.M.–5 P.M. MAY 5: 10 A.M.– 1P.M.

DUKE UNIVERSITY BRODHEAD CENTER 402 CHAPEL DRIVE, DURHAM APRIL 19–21, APRIL 23–28, APRIL 30–MAY 4: 9 A.M.–6 P.M. APRIL 22, 29: NOON–4 P.M. MAY 5: 9 A.M.–1 P.M.

CARRBORO TOWN HALL 301 WEST MAIN STREET, CARRBORO APRIL 21, 28: 9 A.M.–3 P.M. APRIL 23–27, APRIL 30–MAY 4: 9 A.M.–5 P.M. MAY 5: 9 A.M.–1 P.M.

CHAVIS COMMUNITY CENTER 505 MARTIN LUTHER KING JR. BOULEVARD, RALEIGH APRIL 26–27, APRIL 30–MAY 4: NOON–7 P.M. APRIL 28: 10 A.M.–5 P.M. APRIL 29: 1 P.M.–5 P.M. MAY 5: 10 A.M.– 1P.M.

DURHAM COUNTY BOARD OF ELECTIONS 201 NORTH ROXBORO STREET, DURHAM APRIL 19–21, APRIL 23–28, APRIL 30–MAY 4: 9 A.M.–6 P.M. APRIL 22, 29: NOON–4 P.M. MAY 5: 9 A.M.–1 P.M.

EAST REGIONAL LIBRARY 211 LICK CREEK LANE, DURHAM APRIL 19–21, APRIL 23–28, APRIL 30–MAY 4: 9 A.M.–6 P.M. APRIL 22, 29: NOON–4 P.M. MAY 5: 9 A.M.–1 P.M. NCCU ONESTOP 640 NELSON STREET, DURHAM APRIL 19–21, APRIL 23–28, APRIL 30–MAY 4: 9 A.M.–6 P.M. APRIL 22, 29: NOON–4 P.M. MAY 5: 9 A.M.–1 P.M. NORTH REGIONAL LIBRARY 221 MILTON ROAD, DURHAM APRIL 19–21, APRIL 23–28, APRIL 30–MAY 4: 9 A.M.–6 P.M. APRIL 22, 29: NOON–4 P.M. MAY 5: 9 A.M.–1 P.M. SOUTH REGIONAL LIBRARY 4505 SOUTH ALSTON AVENUE, DURHAM APRIL 19–21, APRIL 23–28, APRIL 30–MAY 4: 9 A.M.–6 P.M. APRIL 22, 29: NOON–4 P.M. MAY 5: 9 A.M.–1 P.M.

ORANGE COUNTY BOARD OF ELECTIONS OFFICE 208 SOUTH CAMERON STREET, HILLSBOROUGH APRIL 19–20, APRIL 23–27, APRIL 30–MAY 4: 9 A.M.–5 P.M. APRIL 21, 28: 9 A.M.–3 P.M. MAY 5: 9 A.M.–1 P.M.

CHAPEL OF THE CROSS 304 EAST FRANKLIN STREET, CHAPEL HILL APRIL 21: 9 A.M.–3 P.M. APRIL 23–27, APRIL 30–MAY 4: NOON–6 P.M. MAY 5: 9 A.M.–1 P.M. EFLAND RURITAN CLUB BUILDING 3009 FORREST AVENUE, EFLAND APRIL 21, 28: 9 A.M.–3 P.M. APRIL 23–27, APRIL 30–MAY 4: NOON–6 P.M. MAY 5: 9 A.M.–1 P.M. SEYMOUR CENTER 2551 HOMESTEAD DRIVE, CHAPEL HILL APRIL 21, 28: 9 A.M.–3 P.M. APRIL 23–27, APRIL 30–MAY 4: NOON–6 P.M. MAY 5: 9 A.M.–1 P.M.

WAKE COUNTY

WAKE COUNTY BOARD OF ELECTIONS OFFICE 337 SOUTH SALISBURY STREET, RALEIGH APRIL 19–20, APRIL 23–27, APRIL 30–MAY 4: 8:30 A.M.–5 P.M. MAY 5: 10 A.M.–1 P.M.

HUNT COMMUNITY CENTER 301 STINSON AVENUE, HOLLY SPRINGS APRIL 26–27, APRIL 30–MAY 4: NOON–7 P.M. APRIL 28: 10 A.M.–5 P.M. APRIL 29: 1 P.M.–5 P.M. MAY 5: 10 A.M.– 1P.M. LAKE LYNN COMMUNITY CENTER 7921 RAY ROAD, RALEIGH APRIL 26–27, APRIL 30–MAY 4: NOON–7 P.M. APRIL 28: 10 A.M.–5 P.M. APRIL 29: 1 P.M.–5 P.M. MAY 5: 10 A.M.– 1P.M. NORTHERN REGIONAL CENTER 305 EAST HOLDING AVENUE, WAKE FOREST APRIL 26–27, APRIL 30–MAY 4: NOON–7 P.M. APRIL 28: 10 A.M.–5 P.M. APRIL 29: 1 P.M.–5 P.M. MAY 5: 10 A.M.– 1P.M.

INDYweek.com | 4.25.18 | 7

soapboxer

A Modest Proposal

IN NORTH CAROLINA, SCHOOL BOARDS HAVE TO BEG FOR MONEY EVERY YEAR. THAT MAKES NO SENSE.

BY JEFFREY C. BILLMAN

T

here’s a pretty simple way to keep the Wake County Board of Commissioners and the Board of Education—and other boards of commissioners and school boards in North Carolina—from squabbling over money every year. It’s an idea already in place in most of the rest of the country, and policy wonks here have been kicking it around for more than a decade.

So why aren’t we talking about it?

As the INDY has reported, the upcoming Wake primaries are being fought over the question of education funding. Last year, the school board asked commissioners for $45 million in new funding; it got $21 million.

The five commissioners who voted for that budget all have primary challengers who say their commitment to schools isn’t sufficient.

Then, earlier this month, the interim schools superintendent proposed asking the county for nearly $59 million in this year’s budget, twice what the county planned on.

It’s a record ask at a politically sensitive time. The commissioners will tell you they’re balancing a panoply of needs—not just schools but also parks, health and human services, and basic administrative functions.

They’ll tell you they have increased funding—and taxes—year after year, and by next year Wake will have equaled or exceeded its highest-ever level of per-pupil spending.

And they’ll tell you that voters sent packing

the last Democratic Board of Commissioners that raised taxes too much too fast.

But what if this annual exercise didn’t have to happen? Indeed, it happens like this almost nowhere else.

North Carolina is one of only three states in which school boards are “dependencies of general government,” according to the N.C. School Boards Association. This means that, while 90 percent of the country’s school boards have the authority to raise taxes to fund their schools, North Carolina’s do not.

Instead, every year, they have to beg their county for money.

As Wake County Commissioner John Burns told me recently, this creates a “mismatch.”

“I would be happy for that change to happen,” he says. “Because then the accountability would match the responsibility. Right now, we have accountability for taxes but no responsibility for the expenditure. And [the school board has] accountability for educational outcomes but no responsibility for raising the funds.”

Two years ago, the NCSBA, which lobbies on behalf of the state’s school boards, issued a white paper urging lawmakers to consider such a change. It points to South Carolina as a model; some of the Palmetto State’s eightyfive school districts have been granted total or partial independence. A study in 2001

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8 | 4.25.18 | INDYweek.com

found that districts with independence actually increased taxes at a slower rate than their peers.

“Before you raise taxes, you go in and you scrub your budget,” explains Leanna Winner, director of governmental relations for the NCSBA. North Carolina’s system dates back to the Great Depression, when the General Assembly took over school funding from a hodgepodge of city and county systems, says longtime former legislative staffer and general counsel Gerry Cohen. It wasn’t until three decades later that the legislature made all of the state’s school boards elected bodies. There’s no history of fiscal independence here. And Cohen doesn’t think that’s such as a bad setup. County commissioners get to look at the bigger fiscal picture, he notes.

“As a taxpayer,” he says, “I’m glad to have one county body evaluate all of these needs.”

Of course, the county body doesn’t always evaluate things the way the school system wants—and four times in the last two decades, this has led to school boards suing the county, most recently in Union County in 2013. (The school board won a $91 million judgment that was reversed by an appellate court.) Last year, House Republicans introduced a bill that would forbid school boards from suing county commissioners, though it’s been tied up in committee.

In 2007, then-state representative Rick Glazier, now head of the N.C. Justice Center, sponsored a bill to grant taxing authority to school boards, provided county commissioners agree. It went nowhere. Since then, Winner says, the NCSBA has had model legislation ready for local bills to create pilot programs for such a system. So far, though, there have been no takers. Winner says lawmakers are worried that such a change might look like they’re passing new taxes.

Christine Kushner, a member of the Wake County Board of Education, is skeptical that lawmakers will revisit the issue: “Any granting of taxing authority would, as you know, need to be authorized from the N.C. General Assembly. I do not think that is likely,” she told me in an email.

Perhaps. But the underlying dynamic isn’t going away. The Republican legislature is actively shirking its responsibility to fund schools. School districts—especially big, urban ones—need money to keep up with growth. Boards of commissioners are wary of raising taxes year after year, with no end in sight and little say in how that money is spent. School boards are tired of being told that they’re asking for too much when they have so many needs to address.

Burns is right that it’s a mismatch. So why aren’t we talking about fixing it? jbillman@indyweek.com

INDYweek.com | 4.25.18 | 9

The INDY’s Alternative Wedding Guide Because your wedding doesn’t have to satisfy Martha Stewart.

Just you.

BY JEFFREY C. BILLMAN

10 | 4.25.18 | INDYweek.com

PHOTO ILLUSTRATION BY STEVE OLIVA, CAITLIN PENNA, AND CHRISTOPHER WILLIAMS

W

hat can you say about weddings that hasn’t been said a million times before, in a million glossy magazines with size-0 models in $8,000 gowns on the cover?

There’s a whole wedding-mag industry dedicated to servicing the wedding industry: Brides, The Knot, Martha Stewart Weddings, Town & Country Weddings, etc. And if you actually read these things, you’ll see that they’re pretty much all the same: wedding-day tips, etiquette lessons, lots and lots of dresses. In this high-gloss, model-glamorous version of getting hitched, rich, beautiful people drop tens of thousands of dollars on ornately detailed ceremonies before jetting to Italy or the French Riviera on a two-week honeymoon.

Over here in the real world, weddings are more often than not a source of aggravation, full of headaches and family hassles and looming bills and thoughts like “Why the hell didn’t we just elope?” (There’s a reason my second wedding cost nothing, involved no planning, and took place in a bar.) There is, of course, something to be said for going the traditional route, if that’s your thing—the church, the white dress, the tuxedo, the beef Wellington, the champagne, the reception where your aunt dances awkwardly to “Celebration.” Nothing wrong with the formality, the ritual, the spectacle, the showcase.

But there’s also something to be said for junking all of that and going your own way.

Weddings, after all, are the commemoration of a commitment between two people. Everything else is a matter of taste. And so it doesn’t really matter if you get hitched in a church with stained-glass windows or a bar with barely washed glasses. The only thing that matters is the memories you make.

That’s where the INDY’s second annual Alternative Wedding Guide comes in. No matter how you choose to celebrate your love—traditional or eclectic, low-key or high-dollar—we want you to be yourself and, most of all, be happy.

PHOTO ILLUSTRATION BY STEVE OLIVA, CAITLIN PENNA, AND CHRISTOPHER WILLIAMS

e

t.

INDYweek.com | 4.25.18 | 11

Why Don’t We Do It in the Road?

You can tie the knot above I-40, or at the jail, or at a lot of weird places

T

Celebrating 30 years of Timelessly Beautiful Brides We have a dedicated bridal consultant on hand for you and your bridal party.

Specializing in hair, nails, skin care and makeup. We celebrate diversity.

Mina’s Studio 400 S. Elliott Road Chapel Hill, NC 27514 The Galleria Shopping Center 919.968.8548 www.minasstudio.com Follow us: 12 | 4.25.18 | INDYweek.com

he Durham County Detention Facility isn’t the first place you’d think of to get hitched. Unless you’re Natalie Spring and Harris Carpenter, that is.

The Durham couple had vowed not to get married until same-sex marriage was legalized in North Carolina. In 2008, they had a commitment ceremony that wasn’t conventional either.

The ceremony took place at Seeds, a nonprofit garden school. They then took the party to the “shell of a house” they were in the middle of renovating, Spring says. Artist friends came over and decorated the walls—drywall had just been installed a few days earlier. They got trays of barbecue from Q-Shack and a cake from Guglhupf.

When a federal judge struck down North Carolina’s marriage ban on October 10, 2014, Spring and Carpenter wanted to make it official. And they knew where to go because some friends had done it ten years before: the magistrate’s office at the Durham jail. Had it not been a rainy Friday evening, there may have been someone taking out a warrant a few feet away while they said “I do.”

They picked up a black and white cake from Mad Hatter and called their friends to celebrate. Eight years later, Spring says she’s glad she had a wedding that couldn’t have happened anywhere other than the Bull City.

“That’s the sort of weirdness I think old Durham was,” Spring says. “It felt good to be able to do that.”

Getting married at a jail may not be for everyone, but it goes to show you don’t need to have your wedding at a place of worship or a ballroom for it to be meaningful.

If you’ve got a favorite restaurant, bar, or museum, ask if you can rent it out. Just be sure to check if you need any permits, for example to serve alcohol or take pictures.

Here’s a few of our ideas for unconventional spots to tie the knot.

BY SARAH WILLETS

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Married at a museum? Sure! PHOTO COURTESY OF THE MUSEUM OF LIFE AND SCIENCE

THE AMERICAN TOBACCO TRAIL I-40 BRIDGE

This ten-foot-wide pedestrian bridge wobbles slightly in the wind high above throngs of commuters below, so it’s a perfect venue for two adrenaline junkies to declare their eternal commitment.

Plus, the view can be pretty impressive at sunset. A confused jogger might interrupt your vows, but that’s part of the fun, right? Bonus: it’s technically a sidewalk, so no permit needed, and there’s plenty of parking at the nearby Southpoint Mall.

RALEIGH TROLLEY

The old-timey Raleigh Trolley already offers wedding-day transportation, but we say why not do the whole thing on the go? Pile your friends and an officiant with a sense of humor onboard and hit some of your favorite spots downtown. Some balancing skills required.

BEER STUDY DURHAM

If you’re taking advice from the INDY’s Alternative Wedding Guide, you probably spend a good amount of time here anyway. Beer Study on University Drive is part brewery, part bar, and part arcade.

The back room, with a capacity of about forty to fifty people, is available to rent for special occasions. Toast the occasion with a brew from the adjoining Starpoint Brewery (fingers crossed they bring back that strawberry IPA) and, instead of a first dance as a married couple, impress your friends with your pinball skills.

SPRUCE PINE LODGE

If you want to get in touch with nature on your big day, check out city, county, and state parks department websites to see what facilities are available for rent. We like Spruce Pine Lodge, a rustic 1940s log and stone retreat in the Lake Michie Recreation Area in northeast Durham.

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MYSTIC FARM & DISTILLERY

Mystic bills itself as the Triangle’s only “field to bottle” farm distillery, producing top-notch bourbon, bourbon liqueur, moonshine, and gin. Its facilities, including the tasting room and kitchen, can also be rented for special events, with views of the farm, ponds, and woods. Bonus: Mystic is the world’s largest solar-powered bourbon distillery, so you can feel good about yourself while you get happy drunk in front of your new in-laws.

MUSEUM OF LIFE AND SCIENCE

Most museums and galleries in Raleigh and Durham offer space rental for special events. We’re partial to the nerdier options. At the Museum of Life and

Where to Take Your Out-of-Town Guests It’s never easy dealing with the inevitable nerves that emerge as your wedding day approaches. But keeping a needy group of family and friends busy can crank your stress levels to epic highs. Here are some ideas to keep the fam occupied for hours, if not days, while you’re preparing for your own big day.

DUKE GARDENS: Sarah P. Duke Gardens’ fifty-five acres showcase plant varieties from across the world. The Page-Rollins White Garden, inspired by the cottage gardens of England, is especially ideal for pictures with the family, and the Asiatic Garden’s winding trails offer limitless exotic views.

420 Anderson Street, Durham

Science in Durham, you can one take giant leap into married life alongside a lunar lander in the aerospace exhibit or declare your love in the butterfly house.

The museum offers add-ons like a butterfly release, an animal encounter, or frozen cocktails made with liquid nitrogen. Honorable mention to the North Carolina Museum of Natural Sciences in Raleigh, which we featured in this issue last year. There, you can get married amid dinosaur skeletons, “hordes of termites,” or a dry tropical forest. Nothing says “I love you” quite like termites.

THE PINHOOK

Many local concert venues are also available for rent. We can think of no more unique, loving option than The Pinhook in downtown Durham, which has offered a safe space for anyone who needs one since forever. With an outdoor patio, a disco ball, and your friends, what else could you need?

works by Louise Bourgeois, Yoan Capote, and Lien Truong, is more than enough to revive their interests.

2110 Blue Ridge Road, Raleigh

We carry cards, gifts, and unusual fresh flowers and greenery, with an emphasis on locally sourced products!

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The building, which fits about a hundred people, includes a kitchen and a large deck overlooking the woods. There’s also a lawn, field and picnic shelter available for rent.

CAROLINA BASKETBALL MUSEUM: Sports junkies will drool over the impressively extensive artifacts and historical tributes to Roy Williams, Dean Smith, and Michael Jordan at this museum, located on the campus of UNC. 450 Skipper Bowles Drive, Chapel Hill ARTSPACE: This visual arts center features a revolving lineup of exhibitions and houses studios for dozens of the area’s greatest artists. Drop in for an urban drawing class, an art happy hour, or the premiere of a new showing.

201 East Davie Street, Raleigh

RALEIGH FLEA MARKET: Peoplewatching at the Raleigh Flea Market is sometimes even more fun than shopping there. Nonetheless, we’ve scored some pretty cool finds, including a mid-century sword, an antique banjo, and plenty of retro video games.

1025 Blue Ridge Road, Raleigh

UMSTEAD STATE PARK: Twenty miles of hiking and thirteen miles of bike trails weave around three lakes in this legendary local spot, giving hardcore backpackers and casual sightseers alike plenty to do.

Crabtree Entrance: 8801 Glenwood Avenue, Raleigh Reedy Creek Entrance: 1800 North Harrison Avenue, Cary

NORTH CAROLINA MUSEUM OF ART: With a permanent collection spanning five thousand years and the largest outdoor art park in the country, family and friends can be whisked away for hours in the vast galleries of the NCMA. Even if the family’s already stopped by on a previous visit to the Triangle, a slew of recent acquisitions, including

NORTH CAROLINA MUSEUM OF NATURAL SCIENCES: This one’s a no-brainer for kids. The museum’s enormous whale and dinosaur skeletons are always a big hit. Take a walk through the museum’s living conservatory, which harbors butterflies, turtles, exotic plants, and an elusive sloth.

11 West Jones Street, Raleigh INDYweek.com | 4.25.18 | 13

A Gender-Neutral Guide to Suits Why should dresses have all the fun?

BY ALLISON HUSSEY ILLUSTRATIONS BY CHRISTOPHER WILLIAMS

M

uch ado is made about wedding dresses, and understandably so. They can be gorgeous, intricate works of art as much as they are functional garments.

But what if you don’t want to wear a dress? Suits, too, are an essential part of wedding wear. The finer details of suits and their accessories are myriad, from the necessity of pocket squares and cummerbunds to lapels, buttons, vents, and cufflinks.

But a good-looking suit doesn’t have to break the bank—in fact, if you know the basics of what you’re looking for, a good tailor can get you looking like a million bucks on the (relatively) cheap. In the meantime, we’re here to help you with that first part.

1. MODERATE MAGIC You probably won’t ever have to wear a tuxedo as a wedding guest, but a nice black suit is the way to go for more formal affairs. The most important measurement on any suit is the shoulders: if it doesn’t fit well there, it will be difficult (if not impossible) for a tailor to get the rest of the garment to hang correctly. Too-tight shoulders will be flat-out uncomfortable, and you run the risk of looking like Klaus Nomi if you go too wide. A bolo tie—you read that right—can make for a snazzy, unexpected accessory with a black suit, but just about any other kind of tie will do just fine.

2. RAZOR SHARP A super-tailored or Italian-style suit can lend you a sharp silhouette, which is perfect if you’re hoping to achieve a sleek, angular look. Lighter suits, like this gray one, are usually best for daytime or afternoon weddings. For spring and summer weddings, a light-colored cotton or linen suit is appropriate, as long as you avoid looking like you stumbled in from a beach somewhere. A tie can dictate how dated your ensemble looks, so avoid one that’s too wide or extra-skinny. Spice up your tie a little more with a fancy knot (like a truelove!), and add some extra bedazzle in the form of a tie tack or a clip.

3. NICE AND EASY Minimally tailored “sack” suits give a little more room to the form around the body— depending on your body type, this may also be the most comfortable fit. These suits gained traction in the United States as mass-produced clothing caught on, so if you’re dressing on a budget, you can probably get a thrifted suit in this style fairly easily. It’s hard to go wrong with a navy suit in just about any setting. And don’t think bow ties are reserved for fratty types or Pee-Wee Herman wannabes—they can be as whimsical or conventional as you’d like.

14 | 4.25.18 | INDYweek.com

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INDYweek.com | 4.25.18 | 15

Cake Boss

The next generation of weird and wonderful wedding cakes

New Dog-friendly Bottle, TAPRoom, & Gift Shop in Durham

BY NICK GALLAGHER

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4/26 Free Triple C Brewing Tasting 5/3 Free White Street Brewing Tasting 5/4 May the 4th Be with You Party 5/8 Trivia Night (Register online)

Visit barleylabs.com for more weekly & special events.

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For advertising opportunities, contact your ad rep or advertising@indyweek.com 16 | 4.25.18 | INDYweek.com

any long-established wedding traditions are being altered, twisted, and revamped to accommodate the interests and aesthetics of a new wave of couples.

That goes for cakes, too. We talked to Todd Mozingo, the owner of Edible Arts Bakery, the oldest dessert bakery in Raleigh, about some of his bakery’s wildest custom creations and how the industry is evolving.

INDY: What are some of the most unorthodox cakes Edible Art has created?

Todd Mozingo: Overall, the majority of the cakes that we do are very traditional.

However, we have done some traditionally structured, regularly tiered wedding cakes with very interesting decor. Recently, we did one that was all black. We did one that was purple with an ombre design and with gold accents on it. We did, about two years ago, a Super Mario Brothers-themed cake. Last fall, we did a Victorian-themed cake that had a giant octopus climbing up PHOTO BY ARTBYASH it because the bride was a marine biologist. We did a Day of the Dead-themed cake What’s on the horizon in the weddinga couple of years ago, and it had chocolate cake industry?

Many years ago, people were really focused skulls and flowers on it. on making cakes as glamorous as possiWhat’s the process of creating a wedding ble. Since that time, we have really been focused on a couple of things. And that is cake, from conception to execution?

Sometimes people come in with a general textured buttercream, where you take the idea or elements from different cakes. And spatula and make ridges in the cake in difthen we sketch a design once they decide to ferent directions, and lace patterns. Here, work with us. The majority of the time, they we are a bit different in that we don’t use a come in with a picture, and maybe we make lot of molds or stencils. We freehand a lot of some slight modifications. Baking a wed- our designs. Our designers are very skilled ding cake, especially a large tiered cake, can at looking at a picture of a dress or a linen take several hours from the mixing to the and just drawing what they see. Naked baking. Then the cake is cooled, assembled, cakes, interestingly, started about five years ago. Those are cakes with no icing or very and pre-iced. It usually sits overnight. little icing. That trend has stuck. All white Today, some couples are choosing to forgo is also really big; we don’t use as much color wedding cakes altogether. What are the on cakes as we used to. popular alternatives?

We offer cupcakes. I think we are probably What are you experimenting with? one of the few places around that also does We are a Southern-style bakery, so somepetits fours, which are little hand-cut, thing like French macarons, that’s not hand-glazed cakes. We make macarons and something I envisioned offering on a daily dessert parfaits, which sort of tend to wax basis five years ago. So, it’s been really and wane in terms of popularity. We make exciting to [explore] outside of that mold miniature pies. We run the gamut in terms a little bit. backtalk@indyweek.com of small desserts that we offer.

Stop, Rewind

Don’t ruin your reception with these faux-pas tracks

BY ALLISON HUSSEY

T

here’s a near-infinite crop of songs you can queue up to celebrate the new chapter of your life with your partner.

But here are some you should absolutely, under no circumstances, play when you get married. No, these aren’t the wellworn favorites like Kool and the Gang’s “Celebration” or Etta James’s “At Last.”

These are but a few of the songs that are wildly inappropriate for wedding receptions, yet somehow end up getting played there anyway.

We’ll start with the slow-dance, soft rock numbers. For one, do not play Bon Iver’s “Skinny Love.” The song is called “Skinny Love” because it’s about a love that’s so starved and emaciated that it can barely survive. That’s the opposite if what you’re celebrating at your wedding. Maybe you’ve never listened to The Police’s “Every

Breath You Take” too closely, and you think, “Ah, a nice song about being with someone forever!” But listen closer—it’s creepy and stalkery. Similarly, The Beach Boys’ “God Only Knows” may seem sweet, but it’s too much of a sneaky downer for your happy day. Do you really want a song that wonders “what good would livin’ do me” if the relationship ends? And regardless if you go with Dolly or Whitney, “I Will Always Love You” is about a bittersweet parting, which is probably not the kind of eternal love you’re hoping to honor.

Maybe you want a few recent pop hits in the mix to dance to. Good idea! But the following songs are bad ideas: Justin Bieber’s “Sorry” (another breakup song!)

Sam Hunt’s “Body Like a Back Road” (gag), Drake’s “Hotline Bling” (“Whiny ‘Nice Guy’: The Song”), Meghan Trainor’s “Dear

ILLUSTRATION BY CHRISTOPHER WILLIAMS

Future Husband” (which, in addition to being too on-the-nose, is thoroughly not cute). Outkast’s “Hey Ya” is much less recent, but it’s another sneaky-downer

breakup number that doesn’t fit in with a happy celebration.

This should go without saying, but it doesn’t: Robin Thicke’s “Blurred Lines” is not a fun song at all. The track’s “I know you want it” refrain is cretinous to an astonishing degree, and yet the song still enjoys a stronghold on pop culture. Find another boogie-friendly song that doesn’t give a green light to sexual harassment.

And of course, if you haven’t done so already, expunge R. Kelly’s “Ignition (Remix)” from all party playlists forever.

The man is a sexual predator, and he has no place in any kind of society, much less at a wedding reception.

OK? OK. Good luck with wrangling those playlists, deejays, and hired-gun bands.

Happy dancing, y’all! music@indyweek.com

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All That Glitters

From rings to cufflinks, custom-made wedding jewelry can add special sentiment to your big day

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obody needs to tell you how huge jewelry is within the massive wedding-industry scheme.

There are some companies that are happy to have you believe that the bigger the diamond, the stronger your love. But it doesn’t have to be that way, of course— you may find yourself more interested in getting a one-of-a-kind, meaningful piece to celebrate your partnership. That’s where local artists like Staci Sawyer Phebus, who runs Raleigh’s Juniper Bay Metals, come in.

Phebus has sold her wares full-time as Juniper Bay Metals for about four years, but she’s been a practicing metal artist for close to twenty. Custom wedding jewelry isn’t the bread-and-butter of her business, she says, but it’s nonetheless a special part.

“I like to celebrate the material,” Phebus says. “Sometimes people will come to me with gold from their grandparents’ or parents’ wedding bands and want me to use that material to create a new piece. I’m inspired by that process and the sentiment that goes into that, and how special that is for those people to carry on.”

When you’re considering a custom piece, Phebus says, you don’t usually have to do much in the way of preparation. It’s good to do a little research and know what kind of materials you want, and if there are any styles or designs you absolutely love or hate. Trusting the artist you’re working with and being able to communicate with them is essential.

“The artist is always going to want to use their own creative process and design sense,” Phebus says. “It’s complicated when people maybe want something that I am not going to be able to offer, so I try to be really up front and figure that out right away.”

Luckily, Phebus says, the local metalsmithing community is a tight-knit bunch, and they refer clients to each other regularly. She says Instagram can be a helpful tool for discovering local artists, while Pinterest can be useful for figuring out

18 | 4.25.18 | INDYweek.com

BY ALLISON HUSSEY “Be ready to make a little bit of an investment, if not financially, in interacting and getting to know the person that you’re working with,” Phebus says.

When it comes to rings, especially, one of the most important considerations is how and when you’ll wear it. Your job and hobbies can influence the kinds of materials that should be used—if you’re a regular rock climber, for example, you’ll want something sturdy. Even bartenders will have special needs, Phebus says.

Several years ago, she made a custom ring for Garland’s Cheetie Kumar, who was bartending frequently at the time. Kumar’s previous ring had a resin in it that was damaged by the acidic juices of lemons and limes at the bar, so Phebus fixed her up with a silver and topaz ring that wasn’t susceptible to the same damage.

Above and below, Staci Sawyer Phebus, owner of Juniper Bay Metals, works on While rings are typically at the center a wedding band in her studio. PHOTOS BY CAITLIN PENNA of wedding-jewelry conversations, a sentimental piece to celebrate a marriage doesn’t have to be a ring, Phebus says. One of her favorite pieces of wedding-related jewelry was a brooch that was used for a proposal instead of a ring; she’s also made cuff links for groomsmen and matching necklaces that were gifts for a bridal party.

Shopping small and working with an artist directly can help bring these outside-thebox ideas to life.

Ultimately, Phebus says, artisanal jewelry has a value that far exceeds the materials that go into it. You can get an heirloom-quality piece that will last for decades, one that embodies the deeper sentiments of your marriage far better than any mall jewelry store can offer.

“I feel like the energy that’s put into custom pieces and design has a soul to it, a special quality to it, that you just aren’t going to get if you buy something that’s factorymade,” Phebus says. “I think that carries on. and giving them enough time to complete If people are bringing a sentimental idea what styles you like (understand that the piece—Phebus prefers to have at least into the creation of it, I feel like it continues artists won’t be happy to rip off others’ three months to work on a custom piece, to exist within those pieces.” designs, however). You should also plan if not more. on meeting with the artist at least once ahussey@indyweek.com

Where to Find Last-Minute Gifts For the couple with a sweet tooth: VIDERI CHOCOLATE: The area’s best chocolate is made in Raleigh. Videri offers everything from bitter sea-salt bars to creamy milk chocolate. For the best variety, choose the fifteen-piece confections box full of bonbons and caramels.

327 West Davie Street, Raleigh

For the garden enthusiasts: THE ZEN SUCCULENT: A wide variety of terrariums, ceramic planters, and plantcare starter kits are perfect introductions to the world of lichen, mosses, and succulents.

125 East Parrish Street, #100-A, Durham

For a one-stop shop: RALEIGH PROVISIONS: Raleigh Provisions creates curated gift baskets overflowing with goodies from around the Triangle. Those include the coffee lover gift set, the N.C. barbecue lover basket, the nutlover basket, and the home bartender gift basket.

107 East Davie Street, Raleigh

For beverage aficionados: TOPO ORGANIC SPIRITS: TOPO holds the distinction of being the first organic distillery in the Deep South. And its wide variety of spirits, which are nearly all made with local soft red winter wheat, can be admired on their own, without a mixer.

505 West Franklin Street, Chapel Hill

For the foodie couple: WHISK KITCHEN SUPPLY STORE: Whisk carries all of the kitchen essentials, along with a variety of specialized gadgets.

316 Colonades Way, #214, Cary

For the bookworm couple: QUAIL RIDGE BOOKS: This independent bookstore carries a broad catalog of work by local authors and poets. A subscription to Quail Ridge’s book club is always a great option. It offers discounts and special sales for products across the store.

4209 Lassiter Mill Road, #100, Raleigh

For the music enthusiasts: BULL CITY RECORDS: This independent record store carries vinyl from every band you love and plenty of great bands that you’ve never heard of.

2600 Hillsborough Road, Durham INDYweek.com | 4.25.18 | 19

Unholy Matrimony How to officiate a wedding on the fly when you’re a marriage skeptic

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wo hundred miles west of the Triangle, in the Blue Ridge Mountains, two waterfalls begin at the head of Linville Gorge. As they cascade down a series of tiers, they merge into one before plunging through more than forty feet of open air. To the Cherokee people, this was “the river of many cliffs,” but eighteenth-century colonizers renamed the area after a white family killed in the gorge by Native Americans, who were also said to use the falls to execute prisoners.

At risk of less hyperbole than you might imagine, that’s what the institution of marriage seemed like to me: a loss of individuality followed by a precipitous drop into the rest of your life, a scenic vista stained with uneasy history. Nevertheless, on short notice and without any particular qualifications, I had been summoned to Linville Falls to officiate a wedding ceremony.

On paper, this made no sense. I wasn’t religious. I’d gotten no license online. As I’ve implied, I regarded traditional marriage as a dreamy swoon into an enticing but deceptive story at best, a bald-faced system for consolidating resources down patriarchal lines at worst, or, most neutrally, a legal structure for ILLUSTRATION BY STEVE OLIVA people who wanted to raise families. The idea of presiding over a wedding made me feel stressed and a little scared, so I figured I should do it.

Anyway, my friend asked me to, and really, I understood why. He and his wife weren’t religious, either, so the whole god thing didn’t need to be dealt with. They were making it legal through the proper bureaucratic channels, so certification wasn’t an issue. And they weren’t precious about their marriage, which represented a genuine commitment but also had a certain necessity for them as a transnational couple.

20 | 4.25.18 | INDYweek.com

BY BRIAN HOWE They really just needed someone in North Carolina, near where the groom lived, to say some words at a party.

He was my oldest friend; I knew him and his family. I was writer. I could say things. When I started to think about it this way—as putting a veneer of ritual and circumstance on this wonderful, unexpected, slightly mad thing someone I loved was doing with someone he loved—I got it.

Still, I had no idea what to say. Subtracting god, government, and a long backstory for the couple, what was left?

I struggled with the ceremony in the week or two I had.

More truthfully, I stared at a blank page. The groom had given me only the vaguest outline of what this magical mystery secular-casual wedding ceremony might contain.

The biggest problem was that I had met the bride only two or three times because the courtship happened mostly overseas. I liked her a lot, but I didn’t know her. I worried that anything I wrote would be his story, not theirs.

In the end, I had to fall back on what I knew. So on the morning of the wedding, I drove off to the mountains with no ceremony in hand.

Look, if you’re officiating a traditional wedding, this method may not work for you. There are all kinds of arcane rules about when a bride can be looked at and the kinds of things she can be bothered with. I imagine asking a couple to sit down mere hours before their wedding to be interviewed by the officiant as he typed out their service like a sweaty journalist on deadline would contravene many of these rules.

But that’s what I did, and it worked out pretty great, building the ceremony not from the beats of the ritual but from their voices and story, its improvised rhythm.

This is what I needed to center myself in the meaning of the moment—the pair of falls behind the plunge, how and where they blended.

It wasn’t the most solemn affair, though it was joyous and earnest. The ceremony included words like “Tinder” and “hot lumberjack.” But at the end, we did do a proper, old-fashioned exchange of vows, and by the time we got to the rings (“which I know you both regard as symbols of permission to give and receive unconditional love rather than as symbols of ownership”), I confess I could feel tremors of liturgical power, pronouncing such old words in an old rhythm.

Paradoxically, it was then, through stark contrast, that I could most sharply feel marriage as something that could transcend the institution’s history, something unique to these people in this moment—and just maybe, one day, to me. Maybe.

“You may kiss the groom,” I said. Then we drank. bhowe@indyweek.com

INDYweek.com | 4.25.18 | 21

indyfood

Against the Lawn

URBAN AGRICULTURE COULD POTENTIALLY PRODUCE A TENTH OF THE WORLD’S FOOD. IS GRASS REALLY THE BEST USE FOR YOUR YARD?

BY AMANDA ABRAMS

T

his weekend, the Carolina Farm Stewardship Association is holding its popular Piedmont Farm Tour, which opens forty-five Triangle-area farms to the public. General interest in traditional farming is well-established here; this is the twenty-third year of the tour. But meanwhile, there’s a rising fascination, in the region and around the nation, with another kind of farming: urban agriculture.

There seems to be momentum behind the conviction that the collective cultivation of underutilized public spaces such as empty lots and rooftops just might save the world. Growing food in a city is hands-on and hyper-local, it requires few chemicals and gives off little in the way of greenhouse gasses, and in low-income neighborhoods where grocery stores are scarce, it can be a vital source of healthy food. As a result, the practice is attracting a mix of urbanplanning nerds, antipoverty advocates, the sustainability crowd, and millennials seeking a better future. Some of that enthusiasm was quantified in January, when a study published in the journal Earth’s Future found that densely planted urban farms could potentially produce up to 10 percent of the world’s food.

But if urban agriculture gets people salivating, what about the other unoccupied patches of green right before us: private lawns, those monocultures that many Americans spend more than an hour a week manicuring even though they produce nothing useful? There are roughly forty million acres of lawn in the U.S., according to a 2015 NASA study—three times more acreage than any other irrigated crop. That’s a lot of land, and an enormous amount of lost potential.

The average lawn is roughly a fifth of an acre, which doesn’t sound like much. But unlike big farms, gardens tend to be intensively managed, which means they can often 22 | 4.25.18 | INDYweek.com

Amanda Matson with husband Derek Ehrman and baby Elliot outside their home in Raleigh PHOTO BY CAITLIN PENNA yield an impressive amount of vegetables.

Michelle Schroeder-Moreno, an N.C. State crop-science professor, says that the student farm she runs produced nine thousand pounds of food on about 1.25 acres last year.

That’s nothing, says Steve Moore, a professor in Elon University’s environmental

studies department. “Using biointensive techniques, you can grow a complete diet easily in 4,000 square feet—one-tenth of an acre—for a single person,” he says.

And those figures don’t even include other activities that can occur in a private yard, like raising animals.

The resulting food is usually organic, requires few petroleum products, produces very little CO2, and is as fresh as can be.

Homeowners can plant heirloom crops that are at risk of vanishing forever, bolstering the nation’s food security. And for those who are moving toward homesteading—aiming to be

self-sufficient by capturing rainwater, using renewable energy, and growing and preserving all their food—the reduction in emissions and energy and water use can be profound.

Linda Borghi travels the country preaching the gospel of plowing one’s own patch of Eden. “Look at lettuce, how far it has to travel,” she says. “By the time it gets on your table, do you think it has any life force left in it? The best time to eat anything is right after you cut it.”

Borghi, a New Jersey resident and founder of the Farm-A-Yard campaign, is one of a handful of true believers. But what’s surprising is how uncommon it is to see a front yard in the Triangle that’s been rototilled and planted, much less one in full homesteading mode, complete with animals and a composting system. I polled individuals and organizations like CFSA, Cooperative Extension NC, and food councils around the Triangle, and found that only a tiny handful of Triangle residents intensively cultivate their yards.

“It’s a lot of time, and honestly it’s a luxurious, privileged hobby. We don’t each have to work two jobs to live,” says Celeste Burns of herself and husband Alexander Johnson, explaining why she thinks the phenomenon is relatively rare. She’s right: if you’re going to garden a lawn, you generally must be a landowner—or you must convince one to give you access to their property. You also need some serious surplus time and energy.

“Not too much sports watching or internet gaming in our house,” says Burns.

She and Johnson have filled their twothirds of an acre in Durham with a huge range of fruit trees (pawpaw, sand plums, native persimmons, Asian pears, and figs) and a lush garden of plants largely raised from seed. They demonstrate that urban homesteading is possible, along with the likes of Amanda Matson, a Raleigh resident who lives on a quarter-acre lot in a neighborhood north of N.C. State. When she moved into the house five years ago, she and her husband set a goal of achieving fruit-andvegetable independence within five years.

“Since then, we have been able to grow all the veggies we need on site, and we’re well underway to our goal of growing or foraging all our own fruit,” says Matson. Their yard stands out: in summer, it’s home to six-footplus cornstalks, nonlinear vegetable rows that make use of every square foot, and vertical trellises to save precious space. Matson cultivates the usual suspects—potatoes, beans, onions, peppers—plus some unusual ones, like asparagus, tomatillos, and yardlong beans. And there’s tons of fruit: apple, nectarine, and sour cherry trees, kiwi and grape vines, and blueberry bushes. Matson gathers free resources like coffee grounds

from the local cafe for the compost pile, wood chips for the garden paths, and rainwater. Tomatoes are canned for the winter, green beans are frozen, and cabbage is turned into kimchi and sauerkraut.

“I love the challenge,” Matson says. Most of her family raises food in the country, “but I kind of like the constraints of a city.”

A couple miles to the south lives Will Hooker, a former N.C. State horticulture professor who specializes in permaculture.

Hooker and his family have lived on their property since 1994, and many of the fruit trees there—persimmon, hazelnut, pineapple, guava, pomegranate, and pecan—are mature and produce well. There’s also a big garden packed with greens and flowers and trellised vegetables, a grape arbor that provides shade to the house in the summer, chickens, bees, and ponds stocked with mosquitofish. Hooker harvests rainwater and powers his house in part with solar panels.

“I learned by reading, by talking to people,” says Hooker. And he’s still trying out new ideas, including several different composting systems and experimental agricultural methods such as growing a tomato plant from the bottom of a hanging fivegallon bucket. But it’s organized, and he’s constantly on the lookout for errant weeds.

Though few people are doing it, the Triangle is a pretty welcoming place for intensive gardening and even homesteading, provided you don’t live in a neighborhood with a homeowners association that prohibits it. The growing season is long and forgiving, and in most of the region’s municipalities, bees are allowed without a permit, chickens with a permit. Ambitious residents can legally slaughter the fowl in their backyards. Some residents of Hillsborough, Carrboro, and Raleigh can keep a couple of goats on their property, as can Durham residents on larger lots near the city limits. And the area is full of relevant classes and gatherings.

But it can be intimidating to jump right in. One place to start might be with a local business like Bountiful Backyards or Grow It Yourself, whose staff will set up front yard gardens for a fee, then teach their clients how to maintain the beds themselves.

Or plant a fig or plum or apple tree; once it starts fruiting in a few years, it will bear gifts that require little work to maintain.

So why not head out of the city this weekend to check out some farms and get inspired, courtesy of CFSA? Many are very small operations, and some of their activities could easily be adapted to the yards of urban dwellers who want to maximize the potential of their own personal greenspace. food@indyweek.com

Burritos-Tacos-Nachos-Housemade Salsa-Margaritas!

711 W Rosemary St • Carrboro • carrburritos.com • 919.933.8226

INDYweek.com | 4.25.18 | 23

24 | 4.25.18 | INDYweek.com

food

VECINO BREWING CO.

300 C East Main Street, Carrboro 919-537-9591 www.vecinobrewing.com

Regulars as Clockwork

DEDICATED NEIGHBORHOOD CUSTOMERS ARE THE GEARS DRIVING A CARRBORO BREWERY AND TAPROOM’S RETURN FROM THE BRINK OF DISASTER

BY MADDY SWEITZER-LAMME

“A

“It’s always a bunch of regulars chatting more ambitious plan for Vecino, which will ll these people have been there with newcomers, like four conversations celebrate its grand reopening May 4–6, with for us. I want this to be realgoing on at the bar,” Burkins says. “I think I $4 pints on Friday, half-price appetizers and ly nice for them,” says Cynthia found my home, and that’s why I’ve stayed.” small plates on Saturday, and $5 sandwiches Burkins, sitting outside the newly remodeled Perhaps most important, the taproom now on Sunday. and renamed Vecino Brewing Co., the Carrboro brewery and taproom she and the local community helped save after it nearly closed last year.

Burkins, a hospitality veteran, has managed the taproom since the brewery originally opened in 2015, then called YesterYears Brewery & Taproom. It ran relatively smoothly until owner David Larsen’s son died in the fall of 2016.

“David was gone for five months, and [he] was my owner-brewer,” Burkins says. “The bar was the last place he saw his son alive. It was too painful.”

The brewery fell behind financially and planned to close, but the community rallied behind it.

Katie Stember, a graduate student at UNC-Chapel Hill and one of many regulars who thought of YesterYears as a second home, started a crowdfunding campaign that raised more than $14,000 from individuals and local businesses.

“I know in business that’s not very much, but that was enough to keep us alive,” Burkins says. “We YesterYears has been reborn as Vecino Brewing Co. PHOTO BY RACHEL SPANIEL literally closed for one day. The has a kitchen, in which chef Leah Plumlee The reconstruction included knocking landlords said, ‘No, we would like to keep you turns out comfort-food-inspired pub grub out walls, building a new bar that’s twice here. We’ll give you some more time.’ Some such as a macaroni-and-cheese pot-roast the length of the original, and adding a of our customers gave us more than they’ve sandwich, nachos, and soft pretzels, baked wide garage door in the front, opening onto ever donated to anything else. And most in-house daily. Still, much of the work has a patio that has been extended to accompeople who come here, these aren’t rich peobeen a self-driven community effort. modate several tables. Burkins placed a ple. They’re just regular working people or “We have [professionals] who are doing fourteen-foot community table where she graduate students.” the plumbing and the electric and stuff like hopes people will meet one another and bar The donations bought Larsen enough that,” Burkins says. “But all the extra stuff? stools with backs to encourage customers time to find two investors, Don Griggs and That’s me, David, and his wife. I’m doing to settle in.

Ken Manning, who helped create a new,

all the woodworking, and then our graduate students show up and work for free, helping us paint and finish things.”

For those who were fans of YesterYears’ neighborhood-bar feel, the new name will make sense—Vecino is Spanish for “neighbor.” The brewery plans to give back to the community through a program called Brewing Neighbors, donating 10 percent of the sales of a different beer each month to a local charity. In May, the featured beer will be the Venable Black Lager, supporting the Scott B. Scholarship, which was created last year in memory of the cofounder of Townsend Bertram & Company, a local outdoors shop.

In the forty-five minutes I sat talking with Burkins, several people stopped by to check on the brewery’s progress and to ask how she’s doing, even though the bar was closed. Burkins seemed to know about everything going on in their lives; she offered an orange to one woman who walked over from her home in Carrboro, and chastised another, one of her regulars, for giving too much of herself to her boyfriend. This is part of Burkins’s warm, personal bartending style.

“I learn what my customers like,” she says. “I try and bring in things to supplement our beers. I don’t know everything, but as far as caring and knowing your clients, I’ll stand up to anybody. Customers can tell when someone cares. I pay attention.”

Buoyed by the neighborhood support, Burkins and Larsen have created a taproom built by and for its perpetual occupants, and they can’t wait to welcome them home. food@indyweek.com INDYweek.com | 4.25.18 | 25

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Lo-Fi Farewell

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Coma Cinema's Mat Cothran PHOTO COURTESY OF THE ARTIST

“M

y hometown has one venue and I’m banned from it,” deadpans Mat Cothran. As he remembers it, he once played a noise set in Spartanburg, South Carolina, with Justin Blackburn, his longtime friend and musical collaborator. Before the gig, he had read online that a person could hallucinate by eating nutmeg. So in the spirit of showmanship, he stuffed fistfuls in his mouth while jamming down a C chord on a cheap Casio keyboard. After the show, the incensed sound guy told Cothran and Blackburn that they were never welcome back again.

“I was laughing because he was like, ‘you don’t take your noise art seriously!’” Cothran recalls.

Cothran, who resides in Asheville these days, has long been one of the Carolinas’ bestkept secrets, an endlessly prolific and darkly humorous indie pop songwriter with a deep cult fanbase. Though his lyrics traffic in the macabre and alienated, he’s an easygoing person at heart, quick to self-deprecate and talk up the things he likes. Chalk it up to his Southern roots. On Monday, he begins his first leg of final shows under the moniker Coma Cinema at Cat’s Cradle in Carrboro, almost fifteen years after the project began in 2005.

But how do you even know to start a lo-fi project in a place like Spartanburg?

Cothran credits a small circle of knowledgeable family and friends like Blackburn who put him on to weird culture at a young age. He found himself particularly inspired by an early online find, the self-recorded work of songwriter Chad Matheny, who releases music as Emperor X. “I didn’t even know you could record your own music before Tectonic Membrane/Thin Strip On An Edgeless Platform. I thought you had to be wealthy,” Cothran says.

Inspired, he began to experiment with recording scuzzy downer pop on whatever gear he could acquire. Most of it was financed through via a series of day jobs, including a $5.25-an-hour stint at Publix. He laughs remembering these formative days.

“When I started, laptop recording wasn’t really a thing yet, so my early stuff was more like Ween than anything,” he says.

Over the next thirteen years and several records, Coma Cinema would become an influential node in the American lo-fi indie rock revival and something of a secret handshake for underground kids of the era. The word “influential” is key here—although indie rock tastes and the surrounding industry were shifting rapidly in those years, the current industry marketing machine for all things “DIY” and “lo-fi” didn’t exist yet. Like many other artists in those post-recession days, Cothran had a small, devoted, largely online following, much of which was other musicians. He got on where he could. In 2009, his debut Baby Prayers got him attention from prominent East Coast blogs like My Old Kentucky Blog and Get Off the Coast, which eventually led to coverage from bigger outlets like Pitchfork. And unlike many blogged bands of the era, Cothran regularly played shows, too.

“There was definitely a lot of excitement touring in the early days, wondering what the venue was going to be, like a hollowed out office space, or the top of a radio tower,” he says. He remembers being thankful for early North Carolina bookings at venues like Wilmington’s Gravity Records, as gigs in his home state could be rare. “Most musicians in South Carolina refused to listen to other musicians, especially someone younger. Indie rock was filled with people born into wealth who wanted to seem sophisticated. There wasn’t much of a punk mentality of people making music on their own terms in their own spaces.”

Coma Cinema had a few devoted local supporters, including fellow South Carolina export Chaz Bundick, who became a 2010s synthpop mainstay as Toro y Moi. Bundick, Cothran says, gave him the initial encouragement to send his music to blogs and helped get him on bills when Cothran was struggling to find gigs.

As the band got more press and indie rock trends began to gel around home-recorded pop like his, he was inundated with offers,

for better or worse. He was asked to compose music for a friend’s wedding. He toured the country and released records, including 2011’s excellent Blue Suicide.

A number of middlemen who “wanted to make indie rock a job” attempted to court him, one of whom illegally uploaded his music online and pocketed the profits.

This led to stressful legal proceedings that coincided with a prolonged period of heavy drinking. His problem escalated to the point where he doesn’t remember most of the shows he played around that time.

“Every artist has the real life story and the narrative story,” Cothran says, adding, “Part of the fun of being an artist is crafting your own narrative—I didn’t want to end Coma Cinema as a David Lynch cliffhanger.

I wanted to give it a proper sendoff.”

The album went through six or seven iterations, with production help from Mills and Erik Phillips, a young songwriter and mentee of Cothran’s based in Richmond.

Cothran has been adamant for years about supporting younger musicians like Phillips with his platform.

“Part of the fun of being an artist is crafting your own narrative—I didn’t want to end Coma Cinema as a David Lynch cliffhanger.”

PHOTO COURTESY OF THE ARTIST

But by 2013, Cothran was getting back on a more stable path, which he credits to members of the band TV Girl, with whom Cothran recorded Posthumous Release.

“The paranoid side of my brain back then was like, ‘Don’t go, you’re gonna get killed in the desert,’ but to this day I think that trip and record recording saved my life,” Cothran says.

Re-energized, Cothran put Coma Cinema on hiatus soon after, partially because he had opportunities with his popular Elvis Depressedly project with Delaney Mills, his wife, but also because he thought he had said all he wanted to say. In that sense, the final Coma Cinema record, December’s Loss Memory, is a way to round out the project’s shape and history.

“Putting on new artists has been so important to my life. Fuck paying dues,” he says. “If you’re good, I want you to be where I’m at and go even further. Many people did that for me. They didn’t just let me sit in the dregs and pay dues forever.”

So is Cothran going to pull a James Murphy and resurrect the project eventually for quick cash? He laughs at the idea.

“Definitely not. My band [Elvis Depressedly] with my wife, my stuff under my own name, whatever projects I create in the future, they’re all parts of a greater whole,” he says. “Coma Cinema started when I was in high school, and I’m thirty. It’s time to send it off.” music@indyweek.com

COMA CINEMA

Monday, April 30, 8 p.m., $12–$15 Cat’s Cradle Back Room, Carrboro INDYweek.com | 4.25.18 | 27

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music

CHRIS STAMEY

Sunday, April 28, 5 p.m., free Flyleaf Books, Chapel Hill www.flyleafbooks.com

City Limits

CHRIS STAMEY CHRONICLES HIS CONNECTIONS TO NORTH CAROLINA AND NEW YORK IN A NEW SONG-INSPIRED MEMOIR

BY JIM ALLEN

“I

definitely believe in monogamy, but not musical monogamy,” says Chris Stamey about the fertile Winston-Salem rock scene of the late sixties and early seventies that marked his entry into music, alongside budding impresarios like Mitch Easter and Don Dixon. But the subject of his new book, A Spy in the House of Loud: New York Songs and Stories, covers Stamey’s time transitioning from that world to the late seventies New York City punk and new wave underground.

In addition to his long career as solo artist and producer, the book chronicles Stamey’s work with The dB’s and Big Star’s Alex Chilton, not to mention the bands of his psychedelic youth. Stamey’s spending the spring giving what he calls “musical readings” across North Carolina, as well as in New York and L.A. On May 12, he’ll even reconvene a batch of the bands of his youth at Ramkat in Winston-Salem for a show that benefits American Foundation for Suicide Prevention. But A Spy in the House of Loud began as something else entirely. He first envisioned the project as a songbook that had New York as a central theme.

“I thought, ‘Well I don’t want to have a restricted audience for this, I’ll write something to go with the songs,’” Stamey says. “Like anything I’ve done, it took a lot of left turns. The annotations really took over the notation pretty quickly. I also found out that the two don’t really go together. So I did the tough love thing and separated them out.”

Stamey’s main goal in writing the memoir was not so much to document his career as to inspire creativity, to encourage others to stop reading and write their own songs. That kind of artistic enthusiasm was abundant in the Winston-Salem scene of the seventies that occupies the early part of the book.

Stamey bounced from one group to another in a musical community he and his cohorts called “combo corner,” playing with school pals like his future dB’s bandmate Peter Holsapple and future Let’s Active frontman and R.E.M. producer Mitch Easter.

“There was a constant ‘change partners.’ There was a new band about week,” Stamey says.

Along with the garage-band fervor came a period of laboratory-like experimentation for him. He and Easterregularly teamed up to work on writing and recording, putting together their own four-track studio. Stamey says they spent a couple of years just figuring how to make records and writing songs; with those musical muscles built up, they continued to spawn new acts.

In the later seventies, Easter joined Stamey in the seminal Sneakers, a prescient power-pop band with a punky edge. By 1977, Stamey had followed his muse to the center of the punk revolution, New York City. Things moved quickly. Stamey befriended Ork Records founder Terry Ork, who wanted

Chris Stamey PHOTO BY GAIL GOERS to make a record with him. Ork asked for Stamey’s help in recruiting a band for Alex Chilton, who came up from Tennessee to spend about a year in the city.

After playing with Chilton for a spell, Stamey started his own label, Car Records, and Chilton suggested he release the first solo single by the other erstwhile Big Star singersongwriter, Chris Bell. The track was the cult classic “I Am the Cosmos.” Stamey remembers, “[Chilton] didn’t have a tape of it, so he actually came over to my apartment and played and sang it for me,” Stamey remembers. The song duly made its appearance on Stamey’s imprint.

In 1978, inspired by the electrifying New York scene, Stamey started the dB’s, a New York-based band of fellow Winston-Salem expats: drummer Will Rigby, bassist Gene Holder, and eventually, Holsapple on vocals, guitars, and keys. The band’s idiosyncratic blend of new wave and power pop made them a vital part of the NYC underground.

“It was on the cusp of change, and no one knew where it was going,” Stamey says. “That is always a wonderful place to be, when your eyes are open and you’re not sure what’s gonna happen. A lot of art blooms in those moments.

After two critically lauded albums with The dB’s, Stamey left the band in 1982, releasing his first solo album, It’s a Wonderful Life, that same year. In addition to his own music, he began working as a producer and musician on recordings by others, including Pylon, Yo La Tengo, and The Golden Palominos. But in 1992, the Chapel Hill native moved back to the town of his birth, and eventually opened his own studio there, Modern Recording, which he operates to this day.

From his Chapel Hill perch, Stamey has produced, engineered and mixed countless albums over the last couple of decades. But the man who produced Whiskeytown’s first album reckons his production approach was informed by one of his best-known clients “I learned a lot of stuff from Ryan Adams, just his attitude and his clarity,” Stamey says. “Every time I worked with Ryan it was, ‘Let’s do something real and great right now.’ It wasn’t like, ‘Let’s make a demo and then we’re gonna think about it.’

And it was inspiring.”

Stamey also credits his early New York experiences with influencing his studio approach. With Alex Chilton, he saw a skilled producer at work up close.

“Maybe I would compare him to the way Wes Anderson is a film director. You’ve got the chops but you’re really just gonna bend stuff to your vision. That was an education,” Stamey says. Ultimately, he had to leave North Carolina and discover himself in New York in order to return more fully realized.

“When I arrived in New York, I was thrilled to be there.

There was such energy in the air,” he recalls. “When I got back to North Carolina, and was living about a mile from where I was born, this sense of home became very strong, and a sense of being at rest. This is where I still feel like I belong, and I’m glad I went away in order to find that out. It’s an incredible gift to be here.” music@indyweek.com INDYweek.com | 4.25.18 | 29

music

GUITARTOWN BIRTHDAY BASH: THE BACKSLIDERS, TONK Friday, April 27, 9 p.m., $10–$12 Kings, Raleigh www.kingsraleigh.com

Twang Team

GUITARTOWN’S JONATHAN LEE REFLECTS ON THE LEGACY OF ALT-COUNTRY AND ITS BRANCHES IN THE TRIANGLE BY SPENCER GRIFFITH

C

arrying a thick spiral-bound notebook filled with dates and stories, Jonathan Lee is always ready to talk music, though he hardly needs his notes. As an early member of the Guitartown listserv, which fostered a community among Triangle alt-country fans, Lee seems to have an encyclopedic memory, recalling details as specific as his other purchases when he bought Trailer Bride’s self-titled debut from Chapel Hill’s Record Exchange—a No Depression anthology and Whiskeytown’s “Theme for a Trucker” single, for the record.

Guitartown-related events compelled Lee’s drive to the Triangle nearly every weekend from Eastern North Carolina and his eventual move to Raleigh a decade ago. He later took on an administrative role for Guitartown’s Facebook page. “People weren’t active like they once were on the discussion group, so I began staging shows,” he remembers, the first being a weekend of shows in 2014 celebrating Guitartown’s fifteenth anniversary. Guitartown now presents a series at Steel String Brewery along with regular shows at Berkeley Cafe and The Pour House, among others.

Keeping the Guitartown community alive means far more to Lee than simply having a place to discuss music online. “Guitartown gave me something to hang onto that I was passionate about, even during the depths of my depression,” he explains, even going so far as to refer to it as his lifeline while going through a particularly rough stretch the past several years. Lately, Lee says he mostly has better days. Leading up to Guitartown’s nineteenth anniversary party at King’s, Lee discussed some of the artists that have meant the most to him over his tenure with the organization.

“EMPTY BASEBALL PARK” WHISKEYTOWN, FAITHLESS STREET, 1995

Ryan Adams conjures moody imagery on this deosolate early demo.

JONATHAN LEE: The first time I saw Whiskeytown was at The Brewery in 1998. They 30 | 4.25.18 | INDYweek.com

Jonathan Lee in Raleigh’s Nice Price Books, his favorite record store PHOTO BY CAITLIN PENNA went on late, but it was really good. After the break, they started playing more Strangers Almanac songs, then all hell breaks loose.

It gets dark, they’re shaking up beers and spraying each other with them, they’re taking their guitars and ramming them into the amps and tearing off the grills. There’s a lot of feedback and noise, then the lights come on and it’s over. I’m thinking, “What in the fuck was that?” and later found out it was a Whiskeytown original called “Piss on Your Grave.” I hung around for a bit, then Ryan emerged and I told him, “Dude, I just rode all the way up here from Jacksonville for y’all to play an hour and fifteen minutes then quit,” and he said “Well, sometimes it just happens that way.” He was telling me the truth.

I knew their shows could be a train wreck

or one of the most moving musical experiences you’d seen—or both, and that’s what I got that night. It’s dysfunctional, fucked up stuff—the songs and the band—but it works in so many ways.

“THROWIN’ ROCKS AT THE MOON”

THE BACKSLIDERS, THROWIN’ ROCKS AT THE MOON, 1996

The title track from the hardcore Raleigh honky tonkers’ seminal debut album is a perfectly ragged alt-country anthem.

The first time I met Chip [Robinson] was after that Whiskeytown show in 1998. I saw him play for the first time on the Ryan Adams & Friends show at

The Brewery in October 1999. They’d just released Southern Lines, and Chip was pissed because that record wasn’t being properly promoted after Mammoth Records was absorbed. By that time, The Backsliders were the version with Terry Anderson and Mike Krause, so I never saw the original Backsliders until recent years. They still had a lot of that oomph of the original Backsliders, but there probably was something missing without Steve [Howell]. Their marriage of The Rolling Stones and George Jones— what they call hardcore honky-tonk—has that traditional country sound, but you wouldn’t be surprised if they broke into The Ramones.

“QUIT THAT JEALOUSY” TRAILER BRIDE, SMELLING SALTS, 1998

Before leading The Moaners, the twang of Melissa Swingle’s ramshackle swamp-goth trio was unlike any of its peers.

I first heard them on those Revival compilations on Yep Roc and I was just completely taken with that sound. Trailer Bride was among those first few alt-country albums I purchased, along with Strangers Almanac and Throwin’ Rocks at the Moon. I came up for Sleazefest in 1998 mostly to see them, but I also liked Southern Culture on

“DARKEST HOUR”

MEGAFAUN, GATHER FORM & FLY, 2009

Here, the experimental roots trio conducts a campfire round over a digital patchwork of natural sounds.

I like the cacophony of the sound collage. The rain gives it an outdoors feeling, and it’s very rustic and rootsy without being the same shit we’ve heard over and over again. I hate to make a Dead comparison, but the records are more like a blueprint. The live show was where it was at.

“I knew [Whiskeytown] shows could be a train wreck or one of the most moving musical experiences you’d seen—or both.” the Skids a lot. I’d never been to Sleazefest and there was some crazy ass shit going on, like barbecue baptisms with SCOTS barbecue sauce poured on your head and different ways of distributing watermelon, chicken, and banana pudding to the audience, including a wading pool with a big oar to sling banana pudding. Trailer Bride was the first band to play, and I was completely taken by Melissa Swingle and the whole band.

“THE FAST LANE”

RYAN GUSTAFSON, DONKEY, 2009

Prior to leading The Dead Tongues, Gustafson got dark and stormy on this solo cut from his first LP. I saw Ryan at Local Band Local Beer when the Drughorse thing was going strong.

Max Indian was the gateway, but I was really enthralled with him and thought that people needed to be paying attention to him because he was the Ryan [Adams] of that time. That era leading into Donkey is just unreal. It gives me chills, thinking about how great it was to discover Ryan at that time.

I’d go see him any chance I got after that, but he’s a chameleon. One night at Tir Na Nog when he and Carter Gaj were performing, they had pedals all over the stage so they would just walk around and hit the pedals to set off sounds. Someone walked in and asked when the band was starting because it looked like they were tearing down or setting up.

When I moved to Raleigh in 2008, Chris Malarkey was still at The Pour House and told me I’d really like the band that was playing and let me in. I was completely blown away. I immediately bought Gather, Form & Fly and, from talking to Brad, got to know about their Dead and Drive-By Truckers influences. I noticed the shows would usually end with the band in the crowd, which can be a cliché thing, but it never felt that way with them. They were always involving the crowd in some way and I just really loved that connection, the give-and-take with the audience.

“BULLDOZERS AND DIRT” DRIVE-BY TRUCKERS, PIZZA DELIVERANCE, 1999

Indicative of the Southern rockers’ early sound, mandolin and pedal steel back this Patterson Hood tune.

There’s a lot of Guitartown ties with the Truckers. [Guitartown founder] Alison [Williams] was friends with them, and they used to stay with her when they came up from Athens to play. Patty Hurst Shifter formed as a way of helping them out so they’d have a band to perform with. [Mike] Cooley [the band’s cofounder] also lived in Durham in the late nineties. When the Truckers played Pine Hill Farm in 2001, things got kinda loose and wild as the evening went on. When they played this song, Thad Cockrell came up to sing it with them. There’s video of it that I haven’t watched yet because I prefer to keep my memory of it for right now. music@indyweek.com INDYweek.com | 4.25.18 | 31

indyart

VERSUS: SELECTED WORKS BY THE MFA CLASS OF 2018 Through Sunday, May 13 Ackland Art Museum, Chapel Hill www.ackland.org

Against the Grain

IN VERSUS, YOUNG ARTISTS TAKE A LONG, HARD LOOK AT RACE, ECONOMICS, AND ETHICS, AT UNC AND AROUND THE COUNTRY BY CHRIS VITIELLO

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ounger generations are sometimes criticized for knowing only the history they’ve lived through, for voicing kneejerk outrage without the nuance historical context brings. But this can’t be said about the young artists in Versus, the Ackland’s annual show for graduate students in studio art at UNC-Chapel Hill. This year’s exhibit is a considered indictment of the racial, economic, and ethical history of the United States.

Even reactions to our current moment, such as Jeanine Tatlock’s revised plaques for the Silent Sam monument on campus, interrogate the past of the university, the state, and the nation, weaving informed critique with angry provocation. Tatlock previously mounted two of the wooden plaques, painted to look like bronze, on the monument. One of them bitingly edits the text honoring the Confederate dead, while the other lends the soldier a bit of white guilt: “Guys, I’m embarrassed to be standing here.

Why don’t you put a statue of Pauli Murray in my place?”

Allison Coleman and Kimberly English raise the point that racial and economic disparities are the same thing. In Coleman’s five colorful paintings, she plays upon a postwar domestic fantasy of white wealth and goodness while calculating the cost of that prosperity through the lies we tell ourselves for it. “Thanks for the Conversation (Mea Culpa)” shows a white family praying around a turkey dinner and a housewife shopping at a gory grocery-store meat counter; both ignore the migrant family working a field between them.

English’s video and installation, “Made in America,” features a high-end suit jacket deconstructed into eighty-six parts, pinned to the wall like splayed insects. The video shows her cutting and tearing the garments 32 | 4.25.18 | INDYweek.com

“WWII will be fought with sarcasm” (detail) by Joel Hopler (above) and “Pine-Sol” by Allison Coleman (below) PHOTOS COURTESY OF THE ACKLAND

apart, acknowledging the work that went into the piece, while audio of labor protests and news reports surges and recedes. English shows that labor doesn’t supply the product; it is the product, and it always has been.

This economic critique turns more environmental in other works. Britta Anderson’s “How is everything going?” is a bland oil painting crumbling into concrete and drywall, a comment on the disposability of the wall upon which it’s hung. Lindsay Metivier, after painstakingly removing thick accretions of flyers and posters from Carrboro telephone poles, presents them as archaeological relics. Both artists remind us that discarded meanings disappear while their material remnants keep piling up. Sara Farrington’s “Model Home,” a living room set meticulously wrapped with white craft paper, inverts that entropy, showing the empty terror of the products we retain.

Joel Hopler’s paintings, frantic with pictorial conflict to the point of depicting no identifiable things, raise one’s anxiety level, and Carley Zarzeka’s quieter “also grows the saving”—an array of nineteen small sculptural assemblages of everyday objects—connects anxiety to the racial, economic, and environmental disasters we are letting unfold. In one assemblage, a black foam tube dangles from a monofilament suspended from a jutting spring that keeps a door from bashing a wall.

Through such enigmas, Zarzeka lets us bring our own anxieties into the gallery to reimagine them ourselves. These are things without names or memory, post-thing things, survivors, things that remind us our consumption will consume us and the inanimate will outlast us. History, civilization, and even its aftermath are all encompassed in Versus’s long view. arts@indyweek.com

Housing Market Update

Wake County

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-4.8%

Closed Sales

4,181/3,965

-5.2%

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+7.3%

35/31

-11.4%

Average Sales Price Days on Market

For more information, visit carpentergroupnc.com • Kyle Eckenrode (919) 669 0759 , Kimberlie Meeker (919) 623 0095 , Wes Blaylock (919) 889 4200

INDYweek.com | 4.25.18 | 33

indyscreen On the Seen

of local in Carrboro’ on nostal tic rectan sometime the films t Video V combinat bootlegs ( tape, fiveTap) that VHS play is lined w on the sid sive re-cr Raleigh’s is one of dozens of Alamo Draftthe combi houses around the country, but it’s making at the core a distinct effort to position itself as part of Unfortu the community. It has hired notable local isn’t the film buffs such as Skip Elsheimer, whose has made massive archive of vintage 16mm films fuels the A/V Geeks, as its "Cultural Adviser.” Elsheimer, who became friendly with League a few years ago, showed him what would become Alamo Drafthouse’s location on New Bern Avenue, in an H-shaped building that once housed a Kroger.

In one of the theater’s eleven cinemas— where even texting is forbidden on threat of expulsion and old trailers and shorts serve as preshow entertainment—Elsheimer projects slides of the kinds of Drafthouse events he hopes to emulate: showing old safety films on a school bus, or an outdoor screening of Jaws with the audience on innertubes in a pool and divers occasionally providing shark-like pokes from below.

More important, he wants to make sure there’s a space for local independent filmmakers at the Drafthouse. The theater has announced partnerships with numerous local organizations, including Full Frame, the Southern Documentary Fund, and Visual Alamo D Art Exchange.

Regardless of how it mingles with the the comp Raleigh community, the Drafthouse movemen certainly achieves a degree of razzle-dazzle Faraci, a as a hub of cinematic geekery. The interior after he features massive painted posters for classic allegation exploitation films (“IS STALIN ALIVE?” forward t blares one for the Zsa Zsa Gabor vehicle nothing w The Girl in the Kremlin), a gift shop with harassme movie-soundtrack LPs and high-end filmIt Cool Ne related art pieces by Mondo, and an honestpatron Ha to-god video-rental store.

In resp Video Vortex, announced on a mural by with Fara Raleigh’s David Eichenberger, made the discussio Raleigh Alamo Drafthouse national news. It creating s represents the chain’s first foray into VHS and perso rentals (DVD and other formats are also took a hit available). The implosion of the VHS market into Ralei resulted in the death not only of corporate “Alamo giants such as Blockbuster Video but also

ALAMO DRAFTHOUSE

2116-D, New Bern Avenue, Raleigh 984-444-6620 www.drafthouse.com/raleigh

WHAT WILL RALEIGH’S NEW ALAMO DRAFTHOUSE ADD TO THE TRIANGLE’S BUSTLING RETRO-FILM SCENE?

BY ZACK SMITH

T

he fierce visage of Zardoz, the floating stone head from the unintentionally hilarious 1974 Sean Connery sci-fi flick of the same name, looms in the corner of a colorful mural on a marquee outside the new Alamo Drafthouse in Raleigh. After its soft opening on April 10, the combination movie theater, restaurant and bar, and cinema-geek hub officially fires up the projectors on April 26. Its purview includes films both new (like the blockbuster Avengers: Infinity War) and old (last Sunday, there was a screening of the nearly forgotten 1990 Billy Dee Williams parody Secret Agent 00 Soul).

The mural, painted by Raleigh’s Scott Nurkin, neatly captures the place’s aesthetic: retro, self-aware, and especially fun if you get the references. In the lobby, there’s a bar and restaurant where you can either eat at a table or order for in-theater service, with forty-eight local brews on tap and food items tailored to the area. Several are Andy Griffith-themed, such as the Mayberry RFD, a milkshake made of blueberry-pie ice cream and Cheerwine.

With its inventive, often audienceparticipatory events, Alamo Drafthouse became a cult symbol for movie buffs beginning in Austin in the late nineties.

Spreading locations across the country, it became popular for film festivals and director premieres and even expanded into a mini-empire of websites, publications, and film companies. Drafthouse Films helps distribute rediscovered cult cinema; the distributor Neon helped release recent films such as Ingrid Goes West and I, Tonya.

At a ribbon-cutting for the soft opening— where the ribbon, of course, was a piece of celluloid film—Raleigh Mayor Nancy McFarlane proclaimed, “I never want to hear it again that Raleigh is not cool!” She was flanked by Drafthouse founder Tim League, who was dressed as Gene Wilder’s Willy Wonka, and one of his employees, an orangefaced Oompa-Loompa. But what will Alamo Drafthouse add to an already bustling retro film-screening scene in the Triangle?

34 | 4.25.18 | INDYweek.com

Video Vortex PHOTO BY BRIAN LIVINGSTONE

of local independent video bastions such as Carrboro’s VisArt Video. Video Vortex plays on nostalgia for those clunky black plastic rectangles with tracking issues and the sometimes-lurid box art, often better than the films themselves.

Video Vortex’s collection is a fascinating combination of obscurities, oddballs, and bootlegs (particularly intriguing is a threetape, five-hour “work print” of This Is Spinal Tap) that you can rent for free—along with VHS players, which are less free. The store is lined with tall bookcase-type shelves that, on the sides facing the entrance, feature massive re-creations of VHS box art, typifying the combination of nostalgia and innovation at the core of Alamo Drafthouse’s appeal.

Unfortunately, reviving the video store isn’t the only reason Alamo Drafthouse has made national news recently. Last fall,

to take steps toward improving the company culture as a whole,” spokeswoman Katharine Van Leer told the INDY. “They have implemented a zero-tolerance policy to make their theater a safe and inclusive space for the Raleigh community.”

Van Leer also says that Kristy Breneman, the creative manager of the Raleigh location, will “ensure Raleigh has a voice in company decisions moving forward.”

Alamo Drafthouse joins a thriving repertory film scene in the Triangle, from the North Carolina Museum of Art and the Cary Theater to the Rialto and Mission Valley’s older series, such as Cinema Overdrive, and the ever-expanding Retro features at the Carolina Theatre.

“I think it’s a great opportunity for Raleigh to experience some of the retro classics we’ve been showing in Durham for the last twenty

“I never want to hear it again that Raleigh is not cool!”

Alamo Drafthouse's new Raleigh location PHOTO BY BRIAN LIVINGSTONE the company was swept up in the #MeToo movement for furtively rehiring Devin Faraci, a writer for one of its websites, after he was fired over sexual-assault allegations. Multiple women then came forward to accuse the company of doing nothing when they reported assault and harassment incidents, some involving Ain’t It Cool News founder and major Drafthouse patron Harry J. Knowles.

In response, the company severed ties with Faraci and Knowles and engaged in discussions with Drafthouse theaters about creating safe environments for moviegoers and personnel. But the company’s image took a hit, casting a pall over its expansion into Raleigh.

“Alamo Drafthouse has and will continue

years,” says Jim Carl, the Carolina’s director of film programming. “There’s enough film fans in the Triangle to support multiple repertory series, and I take a lot of credit for that,” he adds, only half-joking.

Carl feels there is a generational yearning to watch films people remember seeing on the big screen. “There seems to be more of a passion for Generations X and Y to experience that,” he says. “The Drafthouse is going to do very well for people in Raleigh who can’t make it over to Durham as much as they’d like, or people in areas like Smithfield and Louisburg.”

Time will tell. In the meantime, I’ve got my eye on that Spinal Tap set. Does anyone know how to hook up a VCR? arts@indyweek.com INDYweek.com | 4.25.18 | 35

screen

LEAN ON PETE 

Opening Friday, April 27

For the Love of Pete A BOY AND HIS HORSE MUST SAVE EACH OTHER IN ANDREW HAIGH’S SLOW, SAD, GORGEOUS CHARACTER STUDY BY LUKE HICKS

W

PHOTO BY SCOTT PATRICK GREEN/COURTESY OF A24

riter-director Andrew Haigh is back with Lean on Pete, an adaptation of Willy Vlautin’s novel of the same name. After devastating deep dives into a brief connection between two queer twentysomethings in Weekend (2011) and the waning love of a long marriage in 45 Years (2015), Haigh delicately tells the story of an outcast who must run away to hold onto what he loves.

Lean on Pete follows a discreet, reticent fifteen-year-old boy’s descent into a life of vast loneliness. Charley Thompson (Charlie Plummer), a solitary teenager relatively content with his lackluster life with his trashy, womanizing father (Travis Fimmel), meets horse trainer Del Montgomery (Steve Buscemi). Del pays Charley to take care of his horses, which are at the end of their racing careers, so he can run them into the ground for some cash before selling them to a slaughterhouse in Mexico.

Charley, against the advice of jockey Bonnie (Chloë Sevigny), grows attached to a horse called Lean on Pete, on deck for the slaughterhouse. But he can’t convince the sleazy Del to keep the horse. In protest of losing one of the few things he truly loves, Charley flees across the country with his beloved horse in tow, searching for a family to ease his solitude.

36 | 4.25.18 | INDYweek.com

Despite being the film’s namesake, the horse fades into the background of a slow, gorgeous, sad portrayal of a quiet boy seeking community. Without family or close friends to love, Charley makes Lean on Pete the lone receptor of his care.

After the horse’s last race, Charley risks what little he has to set him free. In the desert, he longs for water to quench Lean on Pete’s thirst, ignoring the fact that his own lips are as cracked as the ground they walk on.

Haigh paints a picture of Charley that draws your heart to the top of your throat.

Plummer, whose jaded performance in All the Money in the World led me to believe he possessed little to no talent, heaves emotional splendor into his shy, breathy portrayal of the film’s focal character. Balancing award-worthy performances from Fimmel, Buscemi, and Sevigny, deliberate direction, and a stunning screenplay, Lean on Pete is also a master class in landscape photography, showcasing gaping Western scenery that symbolizes Charley’s cavernous existence.

The slow pace and sparse tone might leave some a bit disinterested at times, but in the end, Lean on Pete is a meticulous character study with a lot of heart. arts@indyweek.com

indystage

HAND TO GOD ½ Through Sunday, May 6 Theatre in the Park, Raleigh www.theatreinthepark.com

Put a Sock In It

AN IRREVERENT-TO-BLASPHEMOUS BROADWAY FARCE CASTS AN ABRASIVE, POSSIBLY DEMONIC SOCK PUPPET IN AN UNLIKELY MORALITY PLAY

stage

BRIEF

THE MEMBER OF THE WEDDING 

Through Sunday, April 29 Visual Art Exchange, Raleigh

BY BYRON WOODS

PHOTO COURTESY OF STAR POCKET THEATRE

Ira David Wood IV and Lorelei Lemon in Hand to God PHOTO BY STEPHEN J. LARSON

I

t’s an achievement in physical acting when a performer can persuade an audience that he’s locked in mortal combat with a sock puppet—even more so when the puppet is clearly winning.

Full credit, then, goes to Ira David Wood IV, who plays (simultaneously, at times) the roles of Jason, a nerdy teenage puppeteer, and Tyrone, his abrasive, possibly demonic sock puppet and alter ego, in the year’s least likely morality play, Hand to God, now at Theatre in the Park.

In Robert Askins’s irreverent-to-blasphemous 2015 Broadway farce, Jason’s an increasingly unwilling member of a teen puppet-ministry troupe at a small-town Texas church. Why? For one thing, he’s at that awkward age when he’s easy prey for budding juvenile delinquents like Timmy (a brash Kenny Hertling), while Jessica (Lorelei Lemon), the goth girl next door, remains an unapproachable mystery.

Then there’s Tyrone. Sure, the gruffvoiced, bushy-headed, bug-eyed scamp (designed by Marilyn Gormon) was fun at the start, as a partner for memorable old Abbott and Costello routines (including the one expertly excerpted here). But Tyrone has grown more domineering, more autonomous, and more critical of Jason’s milquetoast ways—tough behavior to take from any creative partner, particularly from a doctored piece of knitted footwear at the end of your right arm.

Wood crisply plays the growing schism between Jason and Tyrone in exchanges that increasingly bewilder the hapless teen and all around him. After the knockdown brawl mentioned above, the puppet sets the puppeteer straight about who’s the senior partner. Later, Tyrone serenades Jessica with a soulful tribute to the Righteous Brothers before squaring

off against Timmy, all but dragging Jason along for the ride.

“Don’t look at the kid, asshole, look at me!” Tyrone roars at the bully. When Timmy mocks the puppet, Tyrone softly snarls, “Look at the kid … and tell me which one you think is in control.”

When all hell breaks loose, Jason’s mom, a beleaguered widow (Kathy Day), is convinced that Jason is possessed, but the church’s pastor (Chris Brown), remains more skeptical. We should be as well. For all his extremes, Tyrone is trying to teach Jason lessons a fatherless child will need to grow up. And as Tyrone tells us, people have used god and the devil as proxies for millennia, attributing our most uncomfortable thoughts and acts to both. This is a burlesque of religion, which remains the longest-running puppet show on record. arts@indyweek.com

It should not be easy to watch a child slowly starve in front of you. It is not easy in Star Pocket Theatre’s production of The Member of the Wedding.

The child is Frankie Addams, a tomboy nearing age thirteen at the start of this harrowing Southern tale. At first, she flutters around like an agitated moth when her older brother and his fiancée return home from the military two days before their wedding. But once they’re gone, an awful emptiness becomes apparent.

No one wants for food—not with cook and nanny Berenice snapping green beans at the kitchen table. But as Frankie’s obsession with the departed couple grows, she frets over the impression she made, her appearance, and her future. We watch a precocious, creative queer girl starving for familial affection and intimacy, friends who recognize and value her, and artistic stimulation. In her 1950 play, Carson McCullers makes it clear that all these are missing or in very short supply in Frankie’s small town. When she realizes she’s “an unjoined person,” she takes desperate action.

Under Brent Wilson’s direction, this inaugural production from Star Pocket Theatre features cofounder Mackie Raymond’s bedrock performance as Frankie, Joy Bryant’s soulful take on Berenice, and notable supporting work from venerable veteran Warren Keyes.

Unfortunately, difficulties common among beginning troupes are equally clear: wooden performances from less seasoned actors, underdeveloped takes from more experienced performers, and gaffes in blocking that rendered the first scene all but unviewable from the right side of the audience, with actors’ backs turned to us on other occasions. But artists always learn much during their first independent production, and I’m eager to see what Star Pocket’s next one looks like. —Byron Woods INDYweek.com | 4.25.18 | 37

WHAT TO DO THIS WEEK 4.25– 5.2

FRIDAY, APRIL 27 & SATURDAY, APRIL 28

KT COLLECTIVE

Choreographer Kristin Taylor Duncan saw something of herself in two artworks in the 30 Americans exhibit at the North Carolina Museum of Art in 2011. Having been moving so much for so long, she identified with the woman in black who dashed past an old, abandoned house in Xaviera Simmons’s unsettling photograph “Appear, Appease, Applaud (Also, Perhaps, Maybe).” That inspired Duncan’s new dance piece, Not at Rest, which she says is about “navigating the anxieties we feel as career builders, motivators, women, teachers.” Having recently had a son at the time, Duncan also connected with the pregnant woman surrounded by a group of children at the center of Purvis Young’s untitled painting. The result is The Time Is Now, a piece on motherhood and supporting a family while supporting oneself.

Duncan explains the title: “All my career and life decisions, I have made because I realized or someone told me, the time is now—if it doesn’t happen now, it might not happen.”

—Byron Woods THE FRUIT, DURHAM 7 p.m., $15–$20, www.durhamfruit.com

SATURDAY, APRIL 28

BITTER RESOLVE

SLIPPAGE PHOTO COURTESY OF THE PROCESS SERIES

FRIDAY, APRIL 27 & SATURDAY, APRIL 28

THOMAS F. DEFRANTZ AND SLIPPAGE

“They’re the subjects that have been left out of the frames, but now they’re almost the only thing you can see,” Thomas F. DeFrantz told the INDY in January 2017. DeFrantz, who chairs Duke’s African and African-American studies department, was talking about the silhouettes of African Americans that artist Kara Walker superimposed on a nineteenth-century pictorial history of the Civil War, at once asserting their presence and starkly outlining their absence in the narrative. Kara Walker reVERSE-gesture-reVIEW, first performed and developed from an exhibit at the Nasher, is by DeFrantz’s SLIPPAGE company, which experiments at the intersection of performance and technology. Through dance and other means, guided by DeFrantz’s incisive and visionary thinking, an interdisciplinary ensemble pulls Walker’s shadow play into time and space. The piece continues its development in UNC’s Process Series this weekend. —Brian Howe UNC’S SWAIN HALL, CHAPEL HILL | 8 p.m., free, www.processseries.unc.edu

38 | 4.25.18 | INDYweek.com

Hope isn’t really a common theme among space-bound psych-metal bands. Sure, wedding any band inclined toward stoner metal to wake-and-bake tropes is reductive, but these bands, by and large, aren’t shiny, happy people. Their music drops out of life, bong in hand, and follows the smoke toward riff-filled lands. Even so, you can find uplift in a declaration from the Carrboro sludge-rock trio Bitter Resolve’s Seven New Worlds, which has a physical release party on Saturday. (It’s been online since November.) “As an everdarkening cloud moves over our collective landscape,” the band writes, “Seven New Worlds offers a heavy glimmer of hope in these truly trying times.” Indeed, searing rays cut through Bitter Resolve’s murky din: the jangly, twin-harmonized intro of “Upper Oceanic Thrust,” the march of liberating warriors in “Hail! Brave Daughters of Odin,” the potential for rebirth in the slinking riffs of “New Humans.” At minimum, Seven New Worlds offers hope of transportation to new lands—yes, ones filled with bong smoke.

MAKE and The Lantern open. —Patrick Wall LOCAL 506, CHAPEL HILL 9 p.m., $8–$10, www.local506.com

Jordi Savall PHOTO COURTESY OF DUKE PERFORMANCES

SUNDAY, APRIL 29

JORDI SAVALL & HESPÈRION XXI WITH CARLOS NUÑEZ: CELTIC UNIVERSE

By the third century BCE, large swaths of the Iberian Peninsula were dominated by Celtic tribes, particularly in the region now known as Galicia; after centuries of Roman domination, a small contingent of Celts settled in the region in the sixth century CE. We don’t know much about either group; much of those cultures has been lost to history. But music is one of the few places where residual echoes are thought to persist. In this concert, viola da gamba master Jordi Savall and his Hespèrion XXI ensemble team up with Carlos Nuñez, a virtuoso of the gaita (a kind of Galician bagpipe), and his group to explore the wide-ranging, unexpected history of Celtic music. Over the course of seven short sets, the six players bring to life traditional Irish reels, Scottish laments, a book of seventeenth-century gamba songs, tunes from Galicia, Brittany, and Basque Country, and more. —Dan Ruccia DUKE’S BALDWIN AUDITORIUM | 7 p.m., $10–$48, www.dukeperformances.duke.edu

TUESDAY, MAY 1–SUNDAY, MAY 6

WAITRESS

Before 2016, there had never been a show on Broadway where women held the top four spots on the creative team. Then Waitress, a musical based on Adrienne Shelly’s 2007 independent film of the same name, opened with director Diane Paulus at the helm, a new Sara Bareilles soundtrack, choreography by Lorin Latarro, and a script Jessie Nelson, completed after Shelly’s untimely death. A slice-of-life dramatic comedy, it focuses on Jenna, a waitress stuck in a dead-end marriage in a small Southern town.

An unplanned pregnancy removes the few options for escape she thought she had left.

But Jenna has resources she’s only partially aware of: a gang of misfit coworkers and regulars at the diner and a penchant for making pies that reflect the present moment in her life. Could that be all she needs to get self-esteem, happiness, and fulfillment back on the menu? —Byron Woods DURHAM PERFORMING ARTS CENTER, DURHAM | Various times, $45+, www.dpacnc.com

WHAT ELSE SHOULD I DO?

COMA CINEMA AT CAT’S CRADLE (P. 26), GUITARTOWN ANNIVERSARY PARTY AT KINGS (P. 30), HAND TO GOD AT THEATRE IN THE PARK (P. 37), RAMYA KAPADIA AT WALLTOWN CHILDREN’S THEATRE (P. 46), LAZY EYE AT HUNT LIBRARY (P. 48), THE MEMBER OF THE WEDDING AT VISUAL ART EXCHANGE (P. 37), TOM PERROTTA AT FLYLEAF BOOKS (P. 48), CHRIS STAMEY AT FLYLEAF BOOKS (P. 29), VERSUS AT THE ACKLAND (P. 32) INDYweek.com | 4.25.18 | 39

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CAT'S CRADLE BACK ROOM

4/26 PATRICK SWEANY W/ CALEB CAUDLE ($12/ $15) 4/27 DEAD HORSES AND FRONT COUNTRY ($14) 4/28 LOMA W/ JESS WILLIAMSON ($12/ $14) 4/29 CONCERT IN MEMORY OF ANTHONY LENER -- RANDY WHITT & THE GRITS, GASOLINE STOVE, LUD, DAVID SPENCER 4/30 COMA CINEMA ($12 / $15)

5/19 NEW FOUND GLORY W/ BAYSIDE, THE MOVIELIFE, WILLIAM RYAN KEY ($25/$29)

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5/21 OKKERVIL RIVER W/ BENJAMIN LAZAR DAVIS ($18/$20)

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6/21 MANCHESTER ORCHESTRA ($23 /$28) 6/23 THE FEELIES ($20/$23) 7/11 KURT VILE AND THE VIOLATORS W/ DYLAN CARLSON ($23/ $25) 7/19 DEAFHEAVEN W/ DRAB MAJESTY AND UNIFORM 7/20 CREATE YOUR SUMMER TOUR FEAT. KARINA GARCIA, WENGIE AND NATALIES OUTLET 8/7 AMANDA SHIRES 8/28 WOLF PARADE 10/11 APARNA NANCHERLA ($22/$25)

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9/29 JOAN BAEZ FARE THEE WELL TOUR. MOTORCO (DUR)

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WED, APR 25

2ND WIND: Yeaux Katz; 7-9 p.m., free.

BLUE NOTE GRILL: Walter Trout; 8 p.m., $20–$25.

HUMBLE PIE: Sidecar Social Club; 8:30 p.m., free.

THE KRAKEN: Shake Sugaree Americana Residency with Jonathan Byrd & Friends; 7-10 p.m., free.

THU, APR 26 THE ARTSCENTER: PopUp Chorus Broadway: West Side Story; 7-9 p.m., $8–$13.

CAT’S CRADLE (BACK ROOM): Patrick Sweany, Caleb Caudle; 8 p.m., $12–$15.

MOTORCO: Sweet Tea Trio, Julie Williams; 8 p.m., $10–$25.

POUR HOUSE: Local Band Local Beer: Young Cardinals, The Old Sioux Summer, Canadian Airports; 8 p.m., $3–$5.

VON DER HEYDEN STUDIO THEATER:

JACK Quartet [$10–$28/8 P.M.]

For the second concert of its Duke Performances residency, the JACK Quartet continues its unexpected survey of American music for string quartet. This show mixes older works by masters of the avantgarde (Morton Feldman’s early Structures, Elliott Carter’s Pulitzer Prize-winning third quartet, and an arrangement of Anthony Braxton’s expansive Composition 173) with a justpremiered piece by Philip Glass. More intriguing, though, are recent compositions by Mark Applebaum and Erin Gee. The former asks the players to gradually switch from creating sounds to pantomiming playful hand gestures. The latter mixes icy, transparent textures with whistles, whispers, and other strange vocalizations.

—Dan Ruccia RUBY DELUXE: Seize The Stage: Peachelope, Nixie Unterwelt; 9 p.m., $5.

WATTS & WARD: The VaudeVillain Revue’s Cabaret Obscura; 9-11 p.m., $15.

Chantae Cann performs at Motorco Saturday night.

FRI, APR 27 THE ARTSCENTER:

Jayme Stone’s Folklife [$22/8 P.M.]

One of the great American treasure troves may be the vast cache of recordings made by folklorist Alan Lomax. For most of his life, Lomax traveled around the world collecting folk music—”folk” in the sense that it was by and for the people, from ring shouts and blues tunes to indigenous music. Like many before him, Jayme Stone, a Canadian banjo player, has been

PHOTO COURTESY OF THE ARTIST

captivated by Lomax’s work and has made it the focus of his own career. Across several records, Stone has recruited artists like Margaret Glaspy, Dom Flemons, Julian Lage, Tim O’Brien, and several others to re-record and breathe new life into old songs. Stone’s pristine, earnest renditions can sometimes sanitize songs of their original, raw power, but they make for a good window into Lomax’s legendary oeuvre.

—Allison Hussey BEYÙ CAFFÈ: Mike Phillips; 7 & 9 p.m., $20.

BLUE NOTE GRILL: Duke Street Dogs; 6-8 p.m., free.

THE BULLPEN: Dr. Bacon; 8:30 p.m.

CAT’S CRADLE:

Superchunk [$18/8 P.M.]

What a Time to Be Alive, Superchunk’s excellent eleventh record, offers no direct solutions and proposes no policies against a frightening new status quo. Written in a rush right after the 2016 U.S. election, then recorded quickly and simply, what Alive offers instead is catharsis, a way to meet rage and angst headon through eleven seething rippers that marshal the forces to fight. It might be expected for Superchunk to slow down a bit after almost

thirty years as one of indie rock’s most reliable bands.

But Superchunk nonetheless sounds as full of piss and vinegar as it did in 1989.

Older, sure, but certainly no less vital. With Rock*A*Teens.

—Patrick Wall CAT’S CRADLE (BACK ROOM): Dead Horses, Front Country; 8 p.m., $14.

IMURJ:

Pianos Become the Teeth [$16–$18/6:30 P.M.]

Pianos Become the Teeth’s early records evoked quintessential screamo bands from the early 2000’s

like Orchid and The Saddest Landscape. But the Baltimore outfit traded in screaming vocals for a cleaner, more melodic approach on 2014’s Keep You. That trend continues in Wait for Love, released earlier this year. Over roaring guitars, the stripped-down vocals allow the band’s lyrics to break through the mix without alienating even the most steadfast post-hardcore fans.

With The World Is a Beautiful Place & I Am No Longer Afraid to Die.—Nick Gallagher LOCAL 506: LDOC Bash: ZenSoFly; 9 p.m., $10.

THE MAYWOOD: Piece of Time, Breakin’ the Law; 9 p.m., $10.

INDYweek.com | 4.25.18 | 41

MOTORCO: Skinny Lister, Beans on Toast; 7:30 p.m., $13–$15.

NC MUSEUM OF ART: Charming Disaster; 5:30 p.m.

POUR HOUSE: Third Eye: A Tribute to Tool; 8 p.m., $8–$10.

RUBY DELUXE: Coping Skills, Bangzz, Pool Boy; 8 p.m., $5.

SAT, APR 28 BEYÙ CAFFÈ: Akua Allrich; 7 & 9 p.m., $17.

THE BULLPEN: Pat “Mother Blues” Cohen; 8:30 p.m.

CAT’S CRADLE: The Afghan Whigs, Built to Spill, Ed Harcourt; 8 p.m., sold out.

PHOTO BY BRYAN C. PARKER

FOR OUR COMPLETE COMMUNITY CALENDAR WWW.INDYWEEK.COM

WE 4/25 TH 4/26 FR 4/27 SA 4/28 SU 4/29 TU 5/1

BLUE WED: WALTER TROUT KIRK RIDGE / INDIVIDUALLY TWISTED DUKE STREET DOGS FFAF: HANDSOME AL & THE LOOKERS W/ EMMA DAVIS JOSH PRESLAR BAND MYSTI MAYHEM TRIO TUESDAY BLUES JAM WITH CLARK STERN

ready to step out on her own.

In the past two years, she has landed in the top ten on both iTunes and Billboard jazz charts, proving her status as a soulful force to be reckoned with. Her vibrant, melodic voice and mellow tone make it easy to have a good time when she’s on stage. With Laura Reed. —Kyesha Jennings

DUKE’S BALDWIN AUDITORIUM: Ciompi Concert No. 2: Max Raimi and Rachel Kuipers Yonan; 8 p.m., $10–$25.

[$7/8 P.M.]

CAT’S CRADLE BACK ROOM:

THE KRAKEN: Crispy & Savannah’s Wedding Jam: Jett Rink, Bad Checks and Bo-Stevens; 8:30 p.m., free.

[$12–$14/8:30 P.M.]

LOCAL 506: Bitter Resolve; 9 p.m., $8–$10. See page 39.

Loma Find Loma Saturday night at the Cat’s Cradle Back Room.

often forgoes a rapturous, explosive sound for one that’s slow-burning and breezy— these tracks rarely burst with pop catchiness, and they’re unexpectedly better for it.

Instead, Loma’s style more closely resembles a collage, dripping in eerie synth, earthy strings, and airy vocals to create a mood that’s both contemplative and mystifying.

With Jess Williamson.

—Nick Gallagher

Loma, a union between members of Shearwater and Cross Record, released its sprawling debut record in February. The trio met when the still-young Cross Record embarked on a tour with Shearwater across North America and Europe.

Loma’s self-titled album

THE MAYWOOD: KIFF, Warboys, October, Thundering Herd; 9 p.m., $8.

MOTORCO:

Chantae Cann [$23–$25/8 P.M.]

After singing backup for Grammy-winning neo-soul goddess India Arie, jazz artist Chantae Cann is more than

THE PINHOOK:

Moon Racer Moon Racer, the bedroom pop project of Durham’s Autumn Ehringer (once of Cassis Orange), carries on tried and true lo-fi sensibilities: the vintage hum of a four-track recorder, droning Casio synths, and hauntingly beautiful vocals. This weekend, she celebrates the release of Is It Really a Secret? on Orindal Records, the home of other lofi greats including Dear Nora and Advance Base. Beauty World and Desert Secretary open. —Nick Gallagher POUR HOUSE: Saturday Metal Matinee; 2:30 p.m., $5. Emily Musolino; 8 p.m., $8–$10.

8P $20 STANDING 7P 6-8P 9P 8PM $8 5-7P 7:30P

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THE RITZ:

Modest Mouse [SOLD OUT/8 P.M.]

It’s been three years since Modest Mouse put out their last record, Strangers to Ourselves, which came eight years after its predecessor.

Having operated in the increasingly ephemeral world of indie rock for twenty-six years, Modest Mouse has demonstrated its longevity and the band is taking its time time. Across six records, the band has steadily honed and modulated its melodic-butangular tunes. Strangers to Ourselves is contained, even dreamy, though the vocal inflections of Isaac Brock remain as distinct and moving as ever. With Mass Gothic.

—Noah Rawlings TEMPLE BAPTIST CHURCH: Durham Community Chorale: Spring into Song; 3:30 p.m., $15.

SUN, APR 29 DEEP SOUTH: Live & Loud Weekly; 9 p.m., $3.

DUKE’S BALDWIN AUDITORIUM: Jordi Savall & Hespèrion XXI with Carlos Núñez: Celtic Universe’; 7 p.m., $20–$48.

See page 39.

GROWLER GRLZ: Vexilla; 2 p.m.

THE MAYWOOD: Kobra and the Lotus, Faith and Scars, Raimee, Seeking Solace; 7 p.m., $12–$15.

MEYMANDI CONCERT HALL:

NC Opera: Samson and Delilah [$23–$98/2 P.M.]

In a way, Samson and Delilah is a classically misogynistic Biblical story: a woman (Delilah) seduces a man (Samson), discovers the source of his power, and then uses that knowledge to destroy him. But since it’s from the Old Testament, God intervenes to allow Samson to exact his revenge. Camille Saint-Saens’s opera is a study in late-nineteenth century orientalisms, full of lush orchestration and attractive melodies. This concert performance also marks the return to the podium of former NC Opera Music Director Timothy Myers. —Dan Ruccia MOTORCO: Adam Ezra Group; 8 p.m., $10–$12.

POUR HOUSE: The Shoaldiggers, Hooverville, The Magnolia Project; 1 p.m., $5.

Superchunk headlines Cat’s Cradle Friday night.

MON, APR 30

PHOTO BY LISSA GOTWALS

RUBY DELUXE: DJ Lord Redbyrd; 10 p.m.

a twenty-four hour span.

The whirlwind of gigs— including stops at a gas station, a beach, a wedding, and a children’s hospital— was filmed for 25in24, an hour-long documentary that screens tonight. Foreman also performs with an acoustic trio, scattering Switchfoot’s soaring anthems and Fiction Family’s folksy jangles among his impassioned solo material. —Spencer Griffith

TUE, MAY 1

Mad Clown, San E

CAT’S CRADLE (BACK ROOM): Coma Cinema; 8 p.m., $12–$15. See page 26.

LOCAL 506: Backtrack, Mizery, Regulate, Hangman; 7:30 p.m., $13–$15.

MOTORCO: Flash Chorus; 7 p.m., $7–$10.

THE PINHOOK: Mama Played Mondays; 7 p.m., free.

BEYÙ CAFFÈ: Durham Tech Sings; 6 p.m., $10–$15.

CAROLINA THEATRE:

Jon Foreman [$25–$102/8 P.M.]

In October 2015, Jon Foreman—frontman of Grammy-winning pop-rock purveyors Switchfoot—set off on an ambitious tour around San Diego involving twentyfive mini-performances over

MOTORCO:

[$25–$30/8 P.M.]

The popularity of K-Pop has been on the rise in the United States for the past few years, and with its emergence, Korean rap has been gaining traction as well. Capitalizing off of this cultural momentum, South Korea’s biggest rap duo Mad Clown and San E have embarked on their first tour in America, which stops in Durham. Their music is

lighthearted and playful, as made evident in the video for their latest single, “Butterfly.”

Ace Henderson opens.

—Charles Morse

they should share a bill makes perfect sense, and will make for a beautiful show.

—Noah Rawlings

POUR HOUSE: Gun Hill Royals, The Log Noggins; 8 p.m., $6–$8.

WED, MAY 2

RED HAT AMPHITHEATER:

CAROLINA THEATRE:

The National, Big Thief

Herb Alpert & Lani Hall

[$25–$55/7:30 P.M.]

[$45–$75/8 P.M.]

“We just got nothing left to say,” sings Matt Berninger on “Guilty Party,” off The National’s 2017 record Sleep Well Beast. On the title track for last year’s Capacity, Big Thief’s Adrianne Lenker sang, “Flight is a beautiful word/ Flowered with consonance/ That’s what I’ll follow.” The National deliver their thoughts in potent prose, Big Thief in alliterative poeticisms.

But both bands’ music is wrought with a quiet tension, a self-imposed subdual that intensifies, rather than diminishes, emotion. That

The only thing most people know about trumpeter and bandleader Herb Alpert is the cover of his 1965 album, Whipped Cream & Other Delights. Or maybe you’ve heard the hundreds of samples of his tracks that pepper hip-hop albums in the eighties and nineties.

His music has always had an endlessly smooth veneer of a sixtiess bachelor pad, he’s sold some seventytwo million records, and, somehow, he’s still winning Grammys into his eighties.

—Dan Ruccia

HUMBLE PIE: Peter Lamb & the Wolves; 8:30 p.m.

THE KRAKEN: Shake Sugaree Americana Residency with Jonathan Byrd & Friends; 7-10 p.m., free.

NEPTUNES PARLOUR:

The Coke Dares [$8/10 P.M.]

Are your days dragging? Do you need a mid-week pickme-up? The Coke Dares will fix what ails you. Originally from Indiana but now based in Raleigh, the trio slings explosive rock numbers that are fast, taut, and a whole lot of fun. The band’s new record, Fake Lake, packs thirty-five songs into a tight forty-five minutes. You can probably expect to hear most of them as the band celebrates the record’s release at Neptunes.

Cold Cream opens.

—Allison Hussey POUR HOUSE: Ruby the Hatchet, Heavy Temple, Demon Eye; 8 p.m., $12–$15.

INDYweek.com | 4.25.18 | 43

art

4.25– 5.2

submit! Got something for our calendar? Submit the details at:

posting.indyweek.com/indyweek/Events/AddEvent DEADLINE: 5 p.m. each Wednesday for the following Wednesday’s issue.

Jeff Whetstone’s video “Drawing E. obsolete” (2011) is part of The Wild, a three-person exhibit (also featuring videos by Joy Meyer and Leah Sobsey) at Raleigh’s outdoor Block2 gallery, running each day at dusk through June 7. PHOTO COURTESY OF BLOCK GALLERY

OPENING SPECIAL Boats of the Times: EVENT Mixed media with social commentary. Apr 27-May 20. Reception: Fri, Apr 27, 6-9 p.m. Skylight Gallery, Hillsborough. www.skylightgallerync.com.

ONGOING The Art of War: Art about contemporary military experience by Trish Brownlee, Alicia Dietz, and Folleh Tamba.

Thru May 12. Artspace, Raleigh. www.artspacenc.org.

ARTFOR(US): Black on Black Project and Artspace present new work by Sherrill Roland, best known for his Jumpsuit Project. Thru May 12. Artspace, Raleigh. www.artspacenc.org.

Business as Usual: A massive white man’s head hangs from the ceiling, with furrowed brows, beady eyes, and veins protruding at the temples.

This omnipresent “boss” watches over Winston-Salem 44 | 4.25.18 | INDYweek.com

artist Bob Trotman’s exhibit, which incorporates mixed media and video art into dozens of figurative sculptures that critique big business by unmasking its gospel of greed and envy at the expense of workers. In wood, resin, tempera, and wax, the handcarved figures range from doll-size to larger-than-life.

The details in their caricatured faces show that they have become hardened to being expendable in an ecosystem of private enterprise. Echoes of 9/11 and the 2008 financial crisis are also present. And sometimes, Trotman uses the form of the automaton to propose his concerns about the dehumanization of workers. Though it was made two years prior to Trump’s election, “Trumpeter” seems like an on-the-nose caricature of our POTUS as a CEO. A trumpet connected to a motion-activated speaker stands in for the figure’s head. As you draw close, it

emits indiscernible squawking sounds, implying that the bullying figurehead offers citizens nothing more than a farcical circus of noise.Thru Jul 1. Gregg Museum of Art & Design, Raleigh. gregg.arts.ncsu. edu. —Julie M. Hamilton Elizabeth Bradford: Paintings.

Thru Jul 31. Umstead Hotel & Spa, Cary. theumstead.com.

Celebrating Nature: Botanical drawings by Preston Montague, wildlife photography by Ricky Davis, and pottery by Liz Kelly.

Thru May 26. Horse & Buggy Press and Friends, Durham. horseandbuggypress.com.

LAST Changing Worlds CHANCE Earth Month Exhibit: Pleiades artists respond to the beauty of the environment and our need to protect it. Also featured is New Orleans environmental artist Ana Berta Hernandez.

Thru Apr 29. Pleiades Gallery, Durham.

PleiadesArtDurham.com.

LAST Earth Consciousness CHANCE and Cultural Revelations: Mixed media artist Alyssa Hinton. Thru Apr 29.

The Community Church of Chapel Hill Unitarian Universalist, Chapel Hill.

Faith in Color: A Photographic Exploration of Race, Religion, and America in Tribute to C. Eric Lincoln: Documentary photography exhibit by Evan Nicole Bell. Thru May 1. Duke Campus: Duke Chapel, Durham.

Hotel Theory: Around the time he stepped away from his twenty-year tenure as founding director of Raleigh gallery Lump, Bill Thelen struck out for an artist residency in a hotel in Oaxaca. He brought two books with him, Huysmans’s decadent Against Nature and Wayne Koestenbaum’s Hotel Theory, an experimental philosophy of hotel life. The result is Thelen’s own Hotel Theory. Consisting of drawings, collages, wall paintings, and a new fiber piece, the exhibit

tracks an artist “immersed in the colors and textures of the Oaxacan landscape and facing middle age” as he observes the lines of history, place, and personal identity from a rented room, a space (like middle age) that, in its nowhere-ness, offers fresh vantages. Thru Jun 1. 21c Museum Hotel, Durham. www.21cmuseumhotels.com/ durham. —Brian Howe LAST Jim Lee: Images CHANCE from DSLR cameras, flatbed scanners, cyanotypes, and other alternative processes.

Thru Apr 29. Horace Williams House, Chapel Hill. chapelhillpreservation.com.

LAST Low Relief | Sensitive CHANCE Situation: There’s been a changing of the guard at Lump, Raleigh’s best gallery for weird art, with Kelly McChesney handing over the directorship to April Childers.

To get a sense of the perspective Childers will bring to the gallery, you could hardly do better than to check

out her show (which was booked by McChesney before the leadership change), Sensitive Situation. Childers’s work integrates objects and images from pop culture and her personal life to shatter and rebuild the context of the everyday. Her show opens alongside one by Maria Britton, Childers’s partner in the itinerant LOG (Low Occupancy Gallery) project; Britton’s work in Low Relief blends painting, sewing, and sculpture to probe “femininity and feminism, high and low forms of art making, and dreams and disasters.”

Thru Apr 28. Lump, Raleigh. lumpprojects.org. —Brian Howe The Marriage of Paint and Collage: Mixed media by Bernice Koff. Thru May 10. Durham Arts Council, Durham. www.durhamarts.org.

Mentor/Mentee: Lope Max Diaz & Luke Miller Buchanan: Lee Hansley Gallery celebrates twenty-five years in a Raleigh

with, appropriately enough, an exhibit celebrating lineage. Luke Miller Buchanan studied with Lope Max Diaz at N.C. State’s College of Design. Putting their paintings side by side shows how the elder’s striking geometric designs influenced but found softer, more sinuous expression in the canvases of the younger artist. Thru May 27. Lee Hansley, Raleigh. leehansleygallery.com.

—Brian Howe Red Summer: Wendell A. White’s large-scale prints combining contemporary landscape portraits and historic newspaper accounts. Thru Jun 2. Duke Campus: Center for Documentary Studies, Durham. www.cdsporch.org.

Sentience: Paintings and drawings by Adam Cohen.

Thru May 25. National Humanities Center, Durham. nationalhumanitiescenter.org.

The Shape of Fashion: Dress trends from 1800s to 1900s.

Thru May 6. NC Museum of History, Raleigh. www.ncmuseumofhistory.org.

Snippets: Paintings by David Molesky. Thru Aug 15. Gallery A, Raleigh. gallerya-nc.com.

Solidary & Solitary: The Joyner/Giuffrida Collection: The most famed names in postwar abstract art— Mondrian, de Kooning, Pollock, Rothko—had very different ways of pushing painting past representation. They also had something in common: all were white. Of course, it isn’t that African Americans weren’t making vital contributions to the course of art history; it’s that the white male canon-makers didn’t as readily embrace them. This touring exhibit at the Nasher is a spectacular corrective, highlighting the Africandiaspora abstract artists who refined this new way of seeing. They range from midtwentieth-century Abstract Expressionist Norman Lewis to contemporary iconoclasts such as Theaster Gates and Mark Bradford, whose twentyfive-foot-tall sculpture anchors the exhibit. Thru Jul 15. Nasher Museum of Art, Durham. nasher. duke.edu. —Brian Howe LAST Spring Corridor CHANCE Exhibition: Anna Vaughn Creech, King Nobuyoshi Godwin, Constance Pappalardo, and Sandra Wimbish.

Thru Apr 28. Artspace, Raleigh. www.artspacenc.org.

Step Right Up: Sculpture by Patrick Dougherty. Thru Aug 31.

Ackland Art Museum, Chapel Hill. www.ackland.org.

The SuperNatural: We’ve lost sight of the seams, once considered inviolable, between nature, technology, and commerce. The SuperNatural explores how we see and shape the contours of our planet as the physical refuse of the industrial age shades into the digital refuse of the present.

The show includes a generative digital video by Tabor Robak, a virtual reality installation

by Jakob Kudsk Steensen, and photos by Lars Jan, among many others. Brooklyn artist Chris Doyle created “Dreams of Infinite Luster,” a digital animation. In it, “All the elements are rendered in gold, the color of lucre—the product, engine, and goal of capitalism.” Is a luxury hotel an odd site for post-capitalist critique? Sure. But, as we’ve said, what seams? Thru Jul 1.

21c Museum Hotel, Durham. www.21cmuseumhotels.com/ durham. —Brian Howe

Three Quilts: Fiber art by Martha Clippinger. Thru Aug 12. Durham Arts Council, Durham. www.durhamarts.org.

SPECIAL Trees by Three: EVENT Carved wood by Larry Favorite, glass art by Susan Hope, and paintings by Ellie Reinhold. Thru May 20.

Reception: Fri, Apr 27, 6-9 p.m. Hillsborough Gallery of Arts, Hillsborough. www.hillsboroughgallery.com.

Us & Them: Portrait paintings

by William Paul Thomas. Thru May 10. Durham Arts Council, Durham. www.durhamarts.org.

Emily Eve Weinstein: Oil paintings and monoprints on handmade paper of scenes from Penland School of Crafts.

Thru Apr 30. North Carolina Crafts Gallery, Carrboro.

The Wild: Leah Sobsey, Joy Meyer, and Jeff Whetstone videos in downtown Raleigh’s Market Plaza. Thru Jun 27.

BLOCK2 Video Series, Raleigh.

Youth in Focus: Photographic quilts by the Corner Teen Center. Thru May 15. Carrboro Branch Library, Carrboro. www.co.orange.nc.us/library/ carrboro.

food Blueberry Pie Day Cider & Wine Pairing: Pie from chef Deric McGuffey and a threeglass flight of Botanist & Barrel blueberry ciders and wines. $15.

Sat, Apr 28, 2-6 p.m.

Cedar Grove Blueberry Farm, Cedar Grove. cedargroveblueberry.com.

Good Together: A Jeffersonian Dinner Benefiting Activate Good: Four-course meal prepared by Matt Lowery and conversation about ways to improve the Triangle. Donations benefit Activate Good’s volunteer programs. Thu, Apr 26, 6-9 p.m. Durant Nature Park, Raleigh. parks.raleighnc.gov.

Italian Wine Dinner: Five-course wine dinner paired with food

courses from Alliance Wines CEO Miguel de la Mata. $50.

Thu, Apr 26, 7 p.m. La Residence Restaurant & Bar, Chapel Hill. www.laresidencedining.com.

Debbie Moose: Discussing cookbook Carolina Catch. Thu, Apr 26, 7 p.m. Flyleaf Books, Chapel Hill. www.flyleafbooks.com.

Mountains to Sea Dinner: Fivecourse dinner with wine pairings in the garden. Benefit for the City of Oaks Foundation. $125.

Sun, Apr 29, 4 p.m.

The Joslin Garden, Raleigh.

Shojin Ryori Omakase: Omakase (chef’s tasting menu) meal. Wed, Apr 25, 5:30-9 p.m.

Dashi, Durham.

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stage

Seema Avil and Ramya Kapadia PHOTO COURTESY OF DIDA SUNDAY, APRIL 29

RAMYA KAPADIA: VANDE MATARAM

deep dive EAT • DRINK • SHOP • PLAY

The INDY’s monthly neighborhood guide to all things Triangle

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Carrboro

For advertising opportunities, contact your ad rep or advertising@indyweek.com 46 | 4.25.18 | INDYweek.com

The names of Indian dance can seem intimidating, but they’re clearer when you break them down. Take the female dance form Bharatanatyam, for example: it’s a long string of letters, but that’s because its syllables describe all four of the classical form’s major elements. “Bha” is short for bhava, or emotion, in Sanskrit. “Ra” stands for raga: music. “Ta” means rhythm, or taala. And natyam’s easy: dance. Put it all together and Bharatanatyam is emotional, rhythmic, musical movement. Local dance artist Ramya Kapadia has studied the form since her childhood in Maharashtra. This evening of dance with Seema Avil is based on the common Indian saying of the title. It means “I bow to my mother,” a phrase that reminds us, according to Kapadia, that “whatever our creed, we belong to the earth first.” The music is by Rajiv Sundaresan, Embar Kannan, and Aditya Sharma. —Byron Woods

WALLTOWN CHILDREN’S THEATRE, DURHAM 4:30 & 7:30 p.m., $10–$20, www.didaseason.com

OPENING 7-Stories: That Raleigh Sound!: Seven stories from the Raleigh music scene. $5.

Sun, Apr 29, 6:30 p.m. Kings, Raleigh. kingsraleigh.com.

Bizarre: A Drag Show Oddity: Monthly drag show hosted

by Derelict. Featuring Veruca Assault, Ruby Liqueur, PRYZM, and Elle Diabla. $5. Sat, Apr 28, 10 p.m. Ruby Deluxe, Raleigh. www.facebook.com/ RubyDeluxeRaleigh.

A Comedy Experiment: Boogie Down South Productions comedy show featuring Louis Bishop, Alli Coleman, Drew Harrison, Troy Coleman, Tyler Wood, and Lew Morgante.

Hosted by Matt White. $5.

Wed, Apr 25, 8 p.m.

Watts & Ward, Raleigh.

Halfway to Halloween Horror Show: Burlesque and variety show presented by Riot Kittens. $10. Thu, Apr 26, 8 p.m. The View at Legends, Raleigh. legends-club.com.

Plaza Suite: Cary Players presents Neil Simon’s comedy. $18-$20. Fri, Apr 27-Sun, May 6. Cary Arts Center, Cary. www.townofcary.org.

Romeo & Juliet with the North Carolina Symphony: Actors from the UNC School of the Arts join the symphony for a semi-staged production. $18+. Apr 27 & 28, 8 p.m. Meymandi Concert Hall, Raleigh. dukeenergycenterraleigh.com.

Tales and Fermentations: Seed Art Share’s new play with trivia, food, and live music.

Featuring Trophy Brewing,

Brewery Bhavana, and Raleigh Brewing. $32. Apr 26-28, 7:30 p.m. Raleigh City Museum, Raleigh. cityofraleighmuseum.org.

Where Did We Sit on the Bus?: Brian Quijada’s off-Broadway one-man show about being Latino in America. $15+. Wed, Apr 25-Sun, Apr 29, 2 & 7:30 p.m. PlayMakers Repertory Company, Chapel Hill. www.playmakersrep.org.

ONGOING LAST Adventure Road: A CHANCE Story of Huck and Tom: Original adaptation of Mark Twain’s book with audience participation and music. $10-$15.

Thru April 30. Kennedy Theater, Raleigh. dukeenergycenterraleigh.com.

Anything Goes Late Show: Saturdays, 10:30 p.m.

Goodnights Comedy Club, Raleigh.goodnightscomedy.com.

Boat Jail: Late Night Standup: Stand-up every fourth Thursday. $5. 9 p.m. Thru Sep 1. Neptunes Parlour, Raleigh. www.neptunesparlour.com.

Group Scene: Open stage for improv teams. First Tuesdays, 8 p.m. Thru Jun 5. Imbibe, Chapel Hill. ½ Hand to God: Reviewed on p. 37. $18-$24. Theatre In The Park, Raleigh. www.theatreinthepark.com.

The Harry Show: Ages 18+.

Potentially risque games improv games with audience volunteers. $10. Fridays & Saturdays, 10 p.m.

ComedyWorx, Raleigh. www.comedyworx.com.

Homegrown: A Comedy Showcase: Monthly stand-up showcase hosted by Jeremy Alder. Featuring Kevin Kinner with locals Tank Smith, Deb Aronin, Alex Garretson, and Shari Diaz. $5-$7. Thu, Apr 26, 8 p.m. Local 506, Chapel Hill. www.local506.com.

Improv at the Varsity: Stand-up, sketch, and improv comedy. $6. Saturdays, 9:30 p.m. Varsity Theatre, Chapel Hill. improvatthevarsity.com.

LAST ½ King CHANCE Charles III: I can’t be the only American to cast a longing eye across the pond toward a figurehead more adult than Donald Trump. If Netflix series The Crown has revealed royalty’s collective feet of clay, it has also underscored principles of nobility, dignity, and leadership that, however

imperfectly embodied, remain worth striving for. But in his “future history play,” Mike Bartlett—part sentimentalist, part cynic—reminds us that we’re now living in what is likely to be the twilight of the crown.

At the outset of his play, Prince Charles, a de facto king before his coronation, is already envisioning himself as far more active in matters of state than his mother was. In the wake of a newspaper phone-hacking scandal (sound familiar?), Parliament has passed a bill restricting freedom of the press.

When Charles refuses to sign the bill into law, the English version of a constitutional crisis is triggered. Under Karen O’Brien’s peerless direction, Randolph Curtis Rand rules the stage as a robust monarch who gives Bartlett’s blank verse full weight. $15-$25. Thru Apr 29.

Burning Coal Theatre at the Murphey School, Raleigh. www. burningcoal.org. —Byron Woods LAST  The Member of CHANCE the Wedding: Reviewed on p. 37. $15. Thru Apr 29. Visual Art Exchange, Raleigh. www.visualartexchange.org.

Peter and the Starcatcher: In the absolute morass of Peter Pan-related sequels, prequels, and re-imaginings—call them vampires, robots, aliens, punks, whatever, it’s still about boys who just won’t grow up—Rick Elice’s adaptation of Dave Barry and Ridley Pearson’s YA novel series about Pan’s origin is a welcome standout.

The production employs the limitations of the stage to create a breathlessly paced and self-aware tale of a journey

to a mysterious island, with minimalist props and lighting to conveying everything from giant ships to enormous crocodiles.

There might be too many Peter Pans in the world (literally and figuratively), but Peter and the Starcatcher is a treat for kids and kids-at-heart that won’t make you wish the boy would just grow up already. $17-$20.

Thru May 6. North Raleigh Arts & Creative Theatre, Raleigh. www.nract.org. —Zack Smith Proof: Play. $13-$18. Thru Apr 29. Forest Moon Theater (at the Wake Forest Community House), Wake Forest.

ShakesBEER II: The Bard Strikes Back: “We’ve upped the ante on everything,” director Dustin Britt says about Bare Theatre’s all-new collection of comic Shakespearean sots, which embarks on a tour of Triangle bars. Once again, adaptor Charles Keith scripts a mashup of the Bard’s most famous boozers as we’ve never even remotely seen them before.

Antony and Cleopatra get the Scorsese treatment before a ukulele orchestra (!) reframes a clutch of Shakespeare’s clowns in a five-minute mini-musical by—who else?—Cole Porter.

A Hamilton parody is on tap, plus a Star Wars tribute. After an April 22 preview at The Pinhook, the bar crawl moves to Cary’s Fortnight Brewing (April 24 and 26), Hillsborough’s Mystery Brewing Company (April 25), Raleigh’s Imurj (April 30 and May 3) and Watts & Ward (May 1), and Durham’s Ponysaurus (May 2). Various venues. Thru May 3. www.baretheatre.org.

—Byron Woods

YOUR WEEK. EVERY WEDNESDAY. Kenny Hertling and Ira David Wood IV in Hand to God (read our review on p. 37).

PHOTO BY STEPHEN J. LARSON

MUSIC•NEWS•ARTS•FOOD INDYWEEK.COM INDYweek.com | 4.25.18 | 47

page READINGS & SIGNINGS Tom Perrotta: Novel Mrs. Fletcher. Tue, May 1, 7 p.m.

Flyleaf Books, Chapel Hill. www.flyleafbooks.com.

LECTURES ETC. Finding Inner Peace Through Meditation: Lecture and guided meditation on the teachings of Paramahansa Yogananda.

Hosted by Self-Realization Fellowship. Wed, Apr 25, 6:30 p.m. UNC Friday Center, Chapel Hill. fridaycenter.unc.edu.

Independent Bookstore Day: Giveaways, exclusive IBD items for sale, pop-up Cat Cafe, surprise local celebrity booksellers, sidewalk-chalk art contest, live music, children’s storytimes, literary trivia.

Sat, Apr 28, 9 a.m.-9 p.m.

screen

TUESDAY, MAY 1 Quail Ridge Books, Raleigh. www.quailridgebooks.com.

Know the Secrets of the Masters of Marriage: Carolina Sexual Wellness Center presents sex therapist and relationship expert Tom Murray.

Tue, May 1, 7 p.m. Page-Walker Arts & History Center, Cary. www.friendsofpagewalker.org.

National DNA Day: The DNA of Durham: Panel of scientists and clinicians from Duke University and around Durham discuss their work. Wed, Apr 25, 7 p.m. Motorco Music Hall, Durham. www.motorcomusic.com.

Spectrum of Speakers: Alan Kennedy on the color purple in the lecture “Purple in Textiles: Animal, Vegetable and Mineral.” $20. Sun, Apr 29, 3:30 p.m.

Ackland Art Museum, Chapel Hill. www.ackland.org.

TOM PERROTTA: MRS. FLETCHER Even if you haven’t read novelist Tom Perrotta, you likely know his brand of spiky satire in Northeastern suburbs from its high-profile jaunts into other forms, such as Alexander Payne’s film adaptation of Election or HBO’s series based on The Leftovers. Perrotta is up to his usual sociocultural hijinks in his new best-seller, Mrs. Fletcher, which he brings to Flyleaf Books this week. A party-ready freshman bro named Brendan finds campus life much different than he’d imagined, and he winds up branded a “HUGE DISAPPOINTMENT” in someone’s art project titled “My Call-Out Wall.” But as Brendan’s expectation of collegiate hedonism fades into alienation and lunging attempts at activism, his lonely, empty-nested mom receives an anonymous text (“U r my milf! Send me a naked pic!!”) that sets her on a pretty literal orgy of self-discovery. Perrotta is playing at how technology and changing cultural norms are transposing certain values traditionally associated with youth and maturity. —Brian Howe

FLYLEAF BOOKS, CHAPEL HILL

7 p.m., free, www.flyleafbooks.com

SPECIAL SHOWINGS Cisco Pike: 1972 film starring Kris Kristofferson. Presented by Movie Loft. Thu, Apr 26, 7 p.m.

Shadowbox Studio, Durham. www.shadowboxstudio.org.

Lazy Eye: Screening with filmmaker Tim Kirkman. Fri, Apr 27, 7 p.m. James B. Hunt Jr. Library, Raleigh.

FRIDAY, APRIL 27

LAZY EYE

“Tim Kirkman’s drama about two men who reunite after fifteen years is so well-written and acted you feel like you’re eavesdropping,” Variety said of Lazy Eye, an indie feature that came out in 2016. Fifteen years after a summer fling, Dean and Alex reunite in the Mojave Desert, a sprawling backdrop for a sprawling conversation that slowly reveals how their lives have developed, why they’ve been out of touch for all these years, and what they mean to each other now. It’s one of those timeless walking-and-talking films where drama resides in speech rather than action, with more than a twist of Linklater’s modern classic Before Sunset. This is to say that love and time are not the film’s two subjects, but its one subject. Kirkman (who also made Loggerheads), an N.C. State alum, returns to his alma matter for a screening and discussion, courtesy of the GLBT Center and State’s film studies program. —Brian Howe

NCSU’S HUNT LIBRARY, RALEIGH | 7 p.m., free, www.ncsu.edu 48 | 4.25.18 | INDYweek.com

Little Pink House: Feature film. $12. Wed, Apr 25, 7:30 p.m.

Raleigh Grande 16, Raleigh. www.carolinacinemas.com/ raleigh.

OPENING Avengers: Infinity War— Marvel superheroes the Avengers and the Guardians of the Galaxy team up to stop Thanos from destroying half the universe with the Infinity Stones. Rated PG-13.  Lean on Pete— Reviewed on p. 36. Rated PG-13.

N OW P L AY I N G The INDY uses a five-star rating scale. Read reviews of these films at indyweek.com.  Black Panther— Marvel’s Afrofuturist breakthrough shows what black writers, actors, and characters can do with center stage. Rated PG-13. ½ Foxtrot—Samuel Maoz’s gorgeous, tragic film asks what happens when a society (in this case, Israel) believes itself to be under siege for generations. Rated R.  Isle of Dogs—Wes Anderson’s animated fable is alternately respectful and baffling in its treatment of Japan. Rated PG-13.  A Wrinkle in Time— Ava DuVernay’s adaptation of the classic novel is bold and messy, but with its diverse cast, it could be a touchstone for today’s twelve-year-olds. Rated PG.

indy classifieds employment QA MANAGER Core Platforms Enterprise Architecture in Morrisville, NC. Develop Quality Management plans and test strategy for each release, review test plans and conduct peer reviews of plans and test cases.

Assist in determining appropriate test environments and managing staff. Work with business analysts to ensure business requirements are adequate and ensure test cases are developed according to standards for both manual and automated.

Provide guidance around QA strategies, proactive governance, and risk management for overall quality delivery of platform applications. Work collaboratively across project teams to ensure success by applying best practice principals, and techniques.

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5 years’ experience with strong business process understanding and functionality of all application areas. 5 years’ experience with supporting the entire delivery effort during all project stages, ensuring that in areas of assigned responsibility milestones and related sign-offs are achieved on a timely basis and in accordance with current project plan. 5 years’ experience and solid understanding of software quality management principles (tracking, analyzing, reporting, problem resolution and training). 5 years good working knowledge of test automation processes, concepts, and tools. Send resume to: NCS Pearson, Inc., attn.: Adithya Connerton, 5601 Green Valley Dr., Bloomington, MN 55437.

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DURHAM COUNTY BOARD OF ELECTIONS Notice of Resolution to Adopt Time for Counting of Absentee Ballots On 1/25/2018, the Durham Board of Elections met at its office at 201 N. Roxboro St., Durham, and adopted a resolution of the following effect:1.

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2. The results of the absentee ballot count will not be announced before 7:30 p.m. on the date of the primary/ election.

3. The Board of Elections shall meet at 2:00 p.m. on Thursday, 5/17/2018 at its office to count additional timely-received absentee ballots prior to county canvass.

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TAX SEIZURE AUCTION

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Saturday, April 28 @10am, 201 S. Central Ave., Locust, NC. Selling Seized Property for NC Department of Revenue due to Unpaid Taxes. 2007 Lexus RX350, 1984 Corvette, 1971 Airstream, 1963 Ford Galaxie, other Vans, SUVs, Trucks, New Tools. 704-791-8825 ncaf5479 www.ClassicAuctions.com

is super-smart and laid-back.

buy FREON R12 WANTED: CERTIFIED BUYER will PAY CA$H for R12 cylinders or cases of cans. (312) 291-9169; www.refrigerantfinders.com

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KEEP DOGS SHELTERED Beyond Fences seeks plastic or igloo style dog houses for dogs in need, as well as indoor metal crates. To donate, please contact Amanda at director@unchaindogs.net.

INDYweek.com | 4.25.18 | 49

7 9 5

3 5 9

4 3

2 5

9 8 1

bang for your buck!

9

1 6 7

8 6

crossword If you just can’t wait, check out the current week’s answer key at www.indyweek.com, and click “Diversions” at the bottom of our webpage.

8 1

classy at 8 4indyweek 2 dot com 5 1

MEDIUM

#2

su | do | ku

this week’s puzzle level:

© Puzzles by Pappocom

There is really only one rule to Sudoku: Fill in the game board so that the numbers 1 through 9 occur exactly once in each row, column, and 3x3 box.

The numbers can appear in any order and diagonals are not considered.

Your initial game board will consist of several numbers that are already placed. Those numbers cannot be changed. Your goal is to fill in the empty squares following the simple rule above.

9 7 5

6 5

1

5 3 8 3 4 5

9

2 5 3 1 8 4 9 6 7

7 3

6 8 7 6 MEDIUM

9

4 3

9

HARD 4 8 7 9 6 3 2 5 1

9 1 6 7 2 5 8 4 3

#3

4 2 3 8 9 7 1 6 5

9 6 5 2 3 1 8 4 7

8 7 1 4 6 5 3 9 2

2 1 6 9 5 8 4 7 3

3 5 4 6 7 2 9 1 8

5 8 2 1 4 6 7 3 9

1 3 7 5 2 9 6 8 4

4 1 2

6 1 1

6 95 9 87 6

2

#4

5

#4

6 4 9 7 8 3 5 2 1

4 8 3 9 1 6 5 7 2 If you just6 can’t 1 7 5 wait, 2 3 8check 4 9 out the current 5 2 9week’s 7 4 8 answer 3 6 1 9 6 8 2 3 7 4 1 5 key at www.indyweek.com, 1 5 4 8 6 9 7 2 3 and click “Diversions”.

7 3 2 4 5 1 6 9 8 Best of luck, 3 4 and 1 6 have 9 5 2fun!

8 7 2 7 5 1 8 4 9 3 6 www.sudoku.com 8 9 6 3 7 2 1 5 4

4

50 | 4.25.18 | INDYweek.com

3

4 9 2 2

7

# 46 7 9 8 3 1 4 2 5 6

solution to last week’s puzzle

Page 1 of 25

8

5

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93 4 3

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4.25.18

7 9 30/10/2005 2 1

CLASSY AT INDYWEEK DOT COM Book your ad • Email amanda: classy@indywEEk.com

advertise on this page!

reserve this space for $100! classy@indyweek.com

To advertise or feature a pet for adoption, please contact advertising@indyweek.com

To advertise or feature a pet for adoption, please contact advertising@indyweek.com

last week's puzzle

YOUR WEEK. EVERY WEDNESDAY.

To advertise or feature a pet for adoption, please contact advertising@indyweek.com

To advertise or feature a pet for adoption, please contact advertising@indyweek.com

To advertise or feature a pet for adoption, please contact advertising@indyweek.com

Book your ad • Email amanda: classy@indywEEk.com

MUSIC•NEWS•ARTS•FOOD INDYWEEK.COM INDYweek.com | 4.25.18 | 51

DANCE CLASSES IN SWING, LINDY, BLUES, TAI CHI

At ArtsCenter, Carrboro. Private lessons also available.

RICHARD BADU, 919-724-1421, rbadudance@gmail.com

back page

Weekly deadline 4pm Monday • classy@indyweek.com

SPECIAL TREATS

Spring Art Gala, April 27-chocolate tasting, live music Details at FB:specialstreatschapelhill

YOU DESERVE TO LOOK AND SOUND FANTASTIC! WWW.LAURECEWESTSTUDIOS.COM

ADMINISTRATIVE LEGAL ASSISTANT

Nonprofit environmental law firm seeks an experienced administrative legal assistant to support a team of lawyers in their work to protect the environment of the Southeast. Outstanding job for the right person. Prior litigation support experience and an interest in environmental protection are essential. Requires college degree; strong computer, typing, and editing skills; and proven organizational and communication skills. Must be proficient in all MS Office applications. Excellent benefits, competitive salary, paid parking. To learn more, visit https://www.southernenvironment.org/about-selc/ careers. Apply by emailing resume, cover letter and 3 professional references to ncjobs@selcnc.org with subject ìAdministrative Legal Assistantî, or by mailing the same documents to Administrative Legal Assistant, 601 W. Rosemary Street, Suite 220, Chapel Hill NC 27516-2356. SELC is an Equal Opportunity Employer that continually seeks to diversify its staff. We strongly encourage applications from persons of all backgrounds.

No telephone calls or walk-ins, please.

RECEPTIONIST/GENERAL OFFICE ASSISTANT

To advertise or feature a petRECYCLE for adoption, please contact THIS advertising@indyweek.com PAPER

To advertise or feature a pet for adoption, please contact advertising@indyweek.com

To advertise or feature a pet for adoption, please contact advertising@indyweek.com

Nonprofit environmental law office seeks a bright, capable, reliable individual to serve as receptionist/general office assistant. Outstanding job for the right person. Prior reception experience in a professional office operating a multiline, business telephone system is sought. Must be punctual, organized and accommodating. Must have refined communication skills, good judgment, positive attitude and friendly demeanor. Strong computer skills (MS Office), a must. Excellent benefits, competitive salary, paid parking.

Visit our ìCareersî page at www.southernenvironment.org for details about the position and to learn about our mission to protect the environment of the Southeast. Apply by sending resume, cover letter and 3 references to ncjobs@ selcnc.org with ìChapel Hill Receptionistî in the subject line; or mail these documents to Receptionist, SELC; 601 W. Rosemary St., Suite 220; Chapel Hill NC, 27516-2356.

SELC is an Equal Opportunity Employer that continually seeks to diversify its staff. We strongly encourage applications from persons of all backgrounds. No telephone calls or walk-ins, please.